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i 

I  • 


FOR  REFERENCE 

Do  Not  Take  From  This  Room 


A  GUIDE 
TO 

BOOKS  ON  IRELAND 


t)o  cum  5t6me  "oe 
^5  us 

onon-A  n>A  hemeAnn, 


A  GUIDE 

TO 

BOOKS  ON  IRELAND 


Edited  by 
STEPHEN  J.  BROWN,  S.J. 

( Anthor  of 'A  Eeader^s  Guide  to  Irish  Fiction'') 


PART  /  j/^ 


rofetry. 
Music  and  Pfays  / 


Prose  Literature, 


HODGES  FIGGIS  &  CO..  LTD. 

DUBLIN 

LONGMANS   GREEN  AND  CO, 

39  PATERNOSTER  ROW,  LONDON 
NEW  YORK,    BOMBAY,     AND  CALCUTTA 

1912 

All  rights  reserved 


ADVERTISEMENT. 


Circumstances  having  rendered  impossible  the  com- 
pletion of  the  Guide  to  Books  on  Ireland  "  on  the 
scale  originally  intended,  it  may  be  well  to  state  here 
what  portions  of  it  the  author  hopes  to  complete. 

In  addition  to  the  present  volume,  material  has  been 
gathered  for  two  further  volumes— Volumes  II.  and 
III.  of  the  series.  Owing,  however,  to  lack  of  leisure, 
their  publication  has  been  postponed  until  next  year. 

Vol.  II.  will  contain  the  following  sections:  Bio- 
graphy (including  autobiography,  memoirs,  and  family 
history).  Tours  and  State  of  Ireland"  (chronologically 
arranged),  and  Ecclesiastical  Works,  i.e.,  books  relat- 
ing to  religion  in  Ireland.  There  will  be  descriptive 
notes  on  the  majority  of  the  works  included,  and  it 
is  hoped  that  the  volume  will  be  a  useful  supplement  to 
the  usual  bibliographies  of  History. 

Vol.  III.  will  contain  the  remaining  sections,  classi- 
fied by  subjects  and  indexed  by  name  of  author  and 
probably,  by  titles.  In  this  volume,  owing,  as  has 
been  said  above,  to  unavoidable  circumstances,  the 
titles  will  in  many  cases  be  given  unaccompanied  by  a 
note. 

Though  it  has  been  thought  well  to  announce  these 
volumes  at  once,  their  appearance  will  in  reality  depend 
on  the  reception  accorded  to  the  first  volume.  More- 
over, their  greater  or  less  completeness  will  depend  on 
the  help  given  to  the  Editor  in  their  compilation. 


GENERAL  PREFACE. 


§  1.  Why  this  book?- — This  book  needs  at  the  outset 
some  formal  justification  of  its  existence.  Perhaps  all 
books  do  in  these  days.  Yet  this  book,  it  may  be, 
less  than  others,  from  one  point  of  view  at  least.  For 
it  may  claim  exemption,  in  some  degree,  from  the  in- 
herent guilt  which  attaches  to  almost  every  new  book — 
that  of  adding  to  the  number  of  those  that  already 
exist,  and  thereby  to  the  bewilderment  of  the  modern 
reader.  For  it  aims,  as  every  book-guide  does,  not  to 
increase,  but  in  a  manner  to  lessen  the  number  of 
books  to  be  read.  Because  when  an  indifferent  book 
is  set  beside  books  that  are  valuable  it  ceases,  to  all 
intents  and  purposes,  to  exist  for  one  who  has  a  care 
for  what  he  puts  into  his  brain.  And  in  our  Guide  " 
we  have  tried  to  perform  this  service  for  many  in- 
different books. 

Yet  even  if  its  claim  of  lessening  the  number  of 
books  to  be  read  appear  somewhat  far-fetched,  a  book- 
guide  may,  at  least,  consider  as  its  due  the  merit  of 
enabling  the  harassed  reader  and  student  to  see  order 
where  before  was  confusion,  much  as  the  modern  town- 
planner  drives  his  avenues  and  boulevards  broad  and 
straight  through  a  tangled  maze  of  lanes  and  alleys. 

The  need  of  reducing  to  order  the  ever-growing  mass 
of  books,  of  making  the  cataract  of  print,  as  Frederic 
Harrison  calls  it,  flow  into  ordered  channels,  has  long 
since  been  amply  recognized.  Not  to  go  outside  of 
Ireland,  as  far  back  as  1724,  Dr.  Nicholson,  the  then 
Lord    Bishop   of   Derry  published   his  Historical 


GENERAL  PREFACE. 


vii 


Libranj  pointing  at  most  of  the  authors  and  re- 
cords in  print  or  manuscript  which  may  be  serviceable 
to  the  compilers  of  a  general  history  of  Ireland."^ 
Since  then  similar  works  in  ever-increasing  numbers 
have  been  appearing,  sometimes,  like  Dr.  Nicholson's, 
focussing  all  the  literature  of  a  particular  subject, 
sometimes  attempting  to  catalogue  and  arrange  uni- 
versal literature,  like  the  Allgemeines  Europdisches 
Biicher-lexicon  "  of  Georgi,  published  at  Leipzig  in 
1745-58,  11  vols.,  or  Brunet's  Manuel  du  Libraire, 
1860-80,  7  vols.2 

It  soon  became  necessary  to  classify  and  to  catalogue 
the  bibliographies  themselves.  As  early  as  1810  we 
have  Peignot's  Repertoire  de  Bibliographies.  And  in 
recent  times  there  have  become  possible  books  with 
such  titles  as  Handy  Book  about  Books  tchich  Re- 
late to  Books  (by  J.  Sabin,  1877),  and  Bibliographie 
des  Bibliographies  (by  L.  Vallee,  2  vols.,  1883-7) ; 
while  I  have  before  me  a  little  book  entitled  Book 
Selection  (1909),  which  might  very  well  call  itself  a 
Guide  Book  to  Book-Guides.^ 

But  I  wish  to  call  particular  attention  to  one  class  of 
such  Guides,  the  need  for  which  has  become  clearer  in 

^  Even  earlier  than  this  W^arc  had  published  his  Re  rum 
Hihernicarum  Scriptores  Veteres, 

2  It  is  said  that  the  only  approximately  complete  attempt  at 
a  universal  bibliography  is  the  catalogue  of  printed  books  in  the 
British  Museum,  but  this  is  not  available  to  the  general  public. 

3  In  Stein's  Manuel  de  Bihliographie  Generate  there  are 
no  fewer  than  720  pages  devoted  to  the  description  of  biblio- 
graphies of  all  kinds.  In  A  Manual  of  Practical  Bibliography , 
by  James  Duff  Brown,  there  is  a  useful  little  resume  on  the 
subject. 


yiii 


GENEtlAL  PREFACE. 


the  last  decade  or  so,^  viz.,  book-guides  intended,  not 
primarily  for  the  library  specialist,  the  collector,  the 
scientific  bibliographer,  but  for  the  average  reader.  Of 
such  there  is  an  ever-growing  production  of  recent 
j^ears.  To  mention  only  the  newest,  there  are  the 
admirable  guides  to  Fiction  of  Dr.  Baker,  Mr.  Jonathan 
Nield,  and  (in  French)  the  Abbe  Bethleem;  there  is 
Sonnenschein's  The  Best  Books :  a  readers  guide  to  the 
choice  of  books,  a  new  edition  of  which  is  being 
issued;  the  Annual  Class-List  of  Best  Books  of  the 
English  Library  ^Association ;  the  annual  English 
Catalogue  of  Books;  and  Standard  Books,  an  im- 
portant new  publication  (1911),  by  Messrs.  Nelson,  in 
four  large  volumes.^ 

But  if  so  manj^  book-guides  exist,  one  may  well  ask : 
What  need  of  a  new  one  for  books  on  Ireland?  My 
first  reply  must  be  that  in  all  such  works  Ireland 
figures,  naturally  enough,  but  little.  Bat  I  think 
there  are  other  good  reasons  which  may  be  given  for 
publishing  a  guide  to  books  on  Ireland. 

The  first  point  is  this,  that  as  books  about  Ireland  are 
written  in  English,  they  are  like  a  rivulet  that  trickles 
into  the  great  flood  of  the  literature  printed  in  that  lan- 
guage— almost  as  wholly  swallowed  up  and  lost. 
Moreover,  unlike  America,  which,  of  course,  also  pub- 
lishes in  English,  Ireland  does  but  little  of  her  own 

^  The  great  need  of  the  present  time  is,  not  so  much  good 
notes  for  the  catalogues  of  particular  libraries,  as  series  of  guide- 
books to  books  for  tiie  use  of  all." — Dr.  E.  A.  Baker,  in  Savage's 
Manual  of  Descriptive  Annotation. 

2  The  Editor  may  be  pardoned  this  fond  insistence  on  the 
number  of  volumes  in  these  publications  as  a  partial  response  to 
possible  reflections  on  the  number  of  his  own. 


GENERAL  PREFACE. 


is 


piiblisliiiig.  Many  a  book  dealing  with  subjects  most 
vital  for  Irishmen  issues  from  London  printing  presses 
and  London  publishing  firms.  English  firms  do  not 
trouble  to  keep  such  books  in  print  and  Irish 
firms — for  there  are  few  civilized  countries  that 
read  less  than  Ireland — cannot  afford  to  re- 
print them,  and  thus  in  a  few  years  they  are 
scarce,  and  in  a  few  more  are  forgotten.  And  that,  let 
it  be  observed,  almost  irrespective  of  their  value. 
Surely  it  is  a  good  task  to  recall  them  to  remembrance, 
especially  when,  as  in  our  days  is  the  case,  we  can 
better  afford  than  in  the  past  to  recall  them  to  life. 

§  2.  Ainu — Such  reasons,  it  will  be  seen,  are  not  the 
bibliographer's  reasons  for  his  work,  and  this  book  is 
not  intended  for  bibliographers.  Indeed,  I  scarcely 
think  that  bibliographers,  if  they  notice  it  at  all,  will 
quite  like  its  methods.  Not  but  what  it  may  have  its 
uses  for  librarians  and  other  book  specialists,  and  I 
trust  it  will,  but  it  is  meant  in  the  first  place  for  other 
classes  of  persons  usually  grouped  together  under  the 
title  of  the  general  reader.''  Nor — and  this  I  had 
occasion  to  say  in  a  former  work  ^ — do  I  wish  that  this 
humbler  aim  should  serve  as  a  cloak  to  needless  lack 
of  accuracy  and  completeness.  For  to  the  presence  of 
these  qualities  the  general  reader  has  no  less  right  than 
the  expert.  The  Editor  has  striven,  therefore — and  this 
is  true  also  of  his  collaborators — to  be  as  far  as  possible 
accurate  and  complete  without  forgetting  that  this  is 
intended  as  a  work  of  "  vulgarisation  "  rather  than  as 
a  contribution  to  bibliographical  science. 

§  3.  Scope, — To  what  Irish  books  is  this  intended  to 

^  licadci'.^'  Guide  to  IrM  Fiction,  Pref. 


GENERAL  PREFACE. 


be  a- guide?  The  answer:  ''to  all  books  dealing  with 
Ireland,  published  up  to  November,  .1911/'  may  seem 
to  imply  a  somewhat  extravagant  claim.  But  it  will 
appear  less  so  on  examination.  In  the  first  place,  under 
''books"  are  not  included  pamphlets,  except  a  few  that 
have  become  historic  and  some  others  that  are  still 
"  actual."  Not  that  a  bibliography  of  such  pamphlets 
would  not  be  most  valuable.  But  their  inclusion  here 
was,  for  reasons  of  space,  simply  not  possible;  and  it 
was  doubtful  if  its  usefulness  would  bear  any  propor- 
tion to  the  great  extra  time  and  labour  it  would  have 
required.^  As  to  the  approximate  completeness  of  the 
lists  of  books  in  the  various  sections,  that  must  be  left 
to  the  judgment  of  the  reader.  The  Editor  merely 
claims  for  these  lists  that  they  are  the  result  of  five 
years'  careful  search  in  a  very  large  number  of  biblio- 
grapljical  sources  to  which  he  has  been  so  fortunate  as 
to  have  access.  ]\[oreovor,  in  most  cases  these  lists  have 
been  revised  and  supplemented  by  specialists  in  the 
various  departments  of  Irish  bibliographJ^  For  the 
classification  the  Editor  himself  is  largely  responsible, 
tliough  to  a  certain  extent  suggestions  have  been  taken 
from  the  systems  adopted  in  Mr.  Sonnenscliein's  Best 
Books  Nelson's  Standard  Books,  and  other  such 
works. 

I  have  not  included  books  in  the  Irish  language.  My 
reasons  for  this  are  threefold.  In  the  first  place,  my 
own  knowledge  of  Irish  is  not  yet  sufficient  to  enable  me 
even  to  edit  notes  of  books  in  Irish.  Nor,  on  the  other 
hand,  have  I  been  able  to  find  anj^  competent  person 

1  For  the  same  reasons  no  attempt  has  been  made,  except  in 
the  section  dealing  with  the  bibliography  of  the  Theatre  in  Ire- 
land,  to  include  articles  from  magazines  and  other  periodicals. 


GENERAL  PREFACE. 


xi 


with  leisure  for  such  a  work.  In  the  second  place,  I 
do  not  think  that  a  bibliography  of  works  in  Irish 
should  be  made  a  mere  appendage  and  sub-section,  as 
it  would  inevitably  be,  of  a  work  such  as  the  present. 
Lastly,  it  may  well  be  doubted  w^hether  the  time  be  yet 
come  for  doing  this  work  in  the  way  that  it  deserves 
to  be  done. 

§  4.  Notes. — The  notes  constitute,  perhaps,  the  main 
feature  of  this  Guide,  and  their  compilation  has  cost 
infinitely  more  trouble  than  could  the  preparation  of  a 
bare  list.  It  is  hoped  that  this  trouble  will  be  com- 
pensated for  by  their  usefulness,  for,  as  the  Editor  of 
the  great  Catalog  of  the  A.L,A}  well  says,  in  a 
book-guide  intended  for  the  general  public  descriptive 
notes  are  indispensable.  They  would  seem  especially 
needed  in  the  case  of  books  on  Ireland,  for  in  almost 
all  of  these  there  is  lurking  controvers3\  In  these 
notes  criticism,  without  being  excluded,  is  sub- 
ordinated to  description.  Of  their  shortcomings, 
i.e.,  of  those  for  which  he  is  personally  respon- 
sible, the  Editor  is  only  too  conscious.  With  more 
leisure  he  might  have  made  the  notes  fuller  and 
more  satisfactory.  He  might  also  have  made  them 
briefer,  but  he  lacked  the  time,  which,  as  all  who  have 
tried  it  know,  is  needed  for  achieving  brevity He 
has  been  obliged  to  leave  them  with  all  their  imper- 
fections on  their  head. 

It  is  hoped  nevertheless  that  such  defects  will  not 
seriously  impair  its  usefulness  for  the  objects  at  which 
it  aims. 

^  American  Library  Association. 

2  He  woukl  fain  liave  followed  out  most  fully  the  admirable 
directions  contained  in  Mr.  E.  A.  Savage's  Manual  of  Dcscriji- 
tivG  Annotation  for  Library  Catalogues. 


THE  PRESENT  VOLUME. 


§1.  Title,  The  Editor  would  have  liked  to  give  a 
general  title  to  this  Part  of  the  ''Guide/'  but  failed 
to  find  one  which  should  cover  all  the  contents.  Yet 
the  various  sections  are  closely  related  to  one  another. 
All  of  them  fall  under  the  heading  "  Literature/'  with 
the  exception  of  Music.  The  latter,  however,  has  much 
in  common,  on  the  one  hand,  with  the  section  that  pre- 
cedes it,  viz..  Poetry,  so  that  such  books  as  Moore's 
Melodies,  Mangan's,  or  rather  O'Daly's  ''  Poets  and 
Poetry  of  Munster,"  and  ''  The  Spirit  of  the  Nation," 
belong  equally  under  both  headings,  and  on  the  other 
hand,  with  that  which  follows,  viz.,  Plays,  musical 
plays  and  ojDera'S  being  common  ground. 

§2.  Collaborators.  The  Editor  cannot  too  fully 
acknowledge  his  indebtedness  to  his  principal  colla- 
borators, Eev.  Geo.  G'Neill,  S.J.,  and  Messrs.  T.  W. 
Rolleston,  J.  HoUoway,  W,  H.  G rattan-Flood.  The 
mention  of  their  names  and  of  their  share  in  the  work 
ought  to  be  a  sufficient  recommendation  of  it  for  any- 
body even  slightly  acquainted  with  Irish  Literature. 
But  as  the  Editor  wishes  to  be  useful  also  to  a  public 
who  are  scarcely,  if  at  all,  acquainted  with  Ireland, 
he  will  be  pardoned  for  entering  info  some  details. 

Mr.  T.  W.  Rolleston^  has  long  been  known  as  a 
writer.  In  1881  he  published  his  translation  of  the 
Encheiridion  of  Epictetus.  Among  his  works  pub- 
lished since  then  are  Grashalme  (translations  of  Walt 

^  These  facts  are  taken  from  M  ho's  IF/^o,  1911. 


THE  PRESENT  VOLUME. 


xiii 


Wliitmaii  into  German),  a  Life  of  Lessing\  and 
'^Parallel  Paths:  a  Study  in  Biology,  Ethics,  and 
Art"  (1908).  But  it  is  chiefly  as  a  writer  on  Irish 
subjects  that  he  interests  us  here.  In  1900  he  edited 
in  collaboration  with  Rev.  Stopford  Brooke  A 
Treasury  of  Irish  Poetry."  In  1909  appeared  Sea- 
spray/'  a  volume  of  poems.  Since  then  he  has  pub- 
lished two  volumes  of  Irish  heroic  legends,  The  High 
Deeds  of  Finn  "  and  Celtic  Myth  and  Legend."  The 
Poetry  Section  owes  to  him  many  valuable  notes, 
additions,  and  corrections,  and  he  has  revised  both  the 
MS.  and  the  proofs. 

Mr.  W.  H.  Grattan-Flood,  Mus.D.,  has  long  been 
prominently  connected  with  things  musical  in  Ireland. 
His  enthusiasm  as  a  collector  of  every  obtainable  scrap 
of  information  relating  to  Irish  music  is  sufficiently 
witnessed  to  by  his  three  books.  Notes  on  these  will  be 
found  in  the  Music  Section.  A  glance  will  show^  its 
great  indebtedness  to  him,  yet  the  'signed  notes  do  not 
by  any  means  represent  the  full  extent  of  that  indebted- 
ness. 

The  Rev.  Geo.  O'Neill,  S.J.,^  M.A.,  Professor  of 
English  Language  in  the  National  Universitj^,  to 
w^hom  I  owe  many  valuable  notes  and  suggestions  in 
the  Music  Section,  is  well-known  in  musical  circles. 
He  is  a  member  of  the  Feis  Oeoil  Committee,  a  Vice- 
President  of  the  National  Literary  Society,  and  a 
frequent  lecturer  on  musical  and  other  topics. 

To  Mr.  Joseph  Holloway  is  solely  due  the  entire  sec- 
tion on  Irish  Plays,  together  with  the  bibliography  of 

i?3cc  TT7/o'«  Who  for  1912. 


xiv 


THE  PRESENT  VOLUME. 


the  Theatre  in  Ireland  inserted  in  the  Prose  Section.  I 
believe  it  would  not  be  possible  to  find  another  with  so 
thorough  and  so  intimate  a  knowledge  of  this  subject. 
It  is  not  exaggerated  to  say  that  from  his  student  days 
he  has  seen  every  play  in  Dublin  that  was  worth  while. 
In  particular  he  has  watched  from  the  start  the  move- 
ment now  associated  with  the  Abbey  Theatre,  of  which 
latter  he  was  the  architect.  He  has  written  much  on 
dramatic  matters,  especially  in  The  Irish  Playgoer," 
which  he  edited.  For  many  years  past  he  has  jotted 
down  his  impressions  of  every  play  he  saw,  and  the 
notes  that  find  their  place  in  the  present  volume  are  but 
a  fragment  from  the  enormous  mass  of  information 
thus  gathered.  His  note-books  and  scrap-books  would 
form  of  themselves  a  respectable  library.  It  is  to  be 
sincerely  hoped  that  Mr.  Holloway's  professional 
duties  will  allow  him  to  put  into  a  w^orthy  History  of 
THE  Irish  Theatre  the  pith  of  this  great  accumulation 
of  valuable  and  interesting  material. 

I  here  tender  my  best  thanks  to  several  other  kind 
helpers  who  have  contributed  to  make  this  book  more 
complete,  and  notably  to  the  Rev.  Alfred  Eahilly,  S.J., 
and  Mr.  J.  P.  Whelan,  Librarian  of  the  Kevin  Street 
Public  Libraries. 

Other  remarks  bearing  on  classification  and  arrange- 
ment will  be  found  at  the  beginning  of  the  various 
sections. 


CONTENTS 


PAGE 

GENERAL  PREFACE     v. 

THE  PRESENT  VOLUME   xii. 

ABBREVIATIONS   xviii. 

T.    GENERAL    COLLECTIONS    AND  SELECTIONS 

(PROSE  AND  POETRY)    1 

11.    PROSE  LITERATURE. 

A.  Collected  Works  ...  ...  ...  ...  7 

B.  Essays       ...  ...  ...  ...  ...  11 

C.  Speeches  ...  ...  ...  26 

D.  Books  about  Irish  Literature. 

1.  Gaelic  Literature         ...  ...  ...  36 

2.  Anglo-Irish  Literature  ..  ...  41 

3.  Irish  Writers  ...  ..  ...  44 

4.  Books    about    the    Theatre    in  Ireland 

(J.  Hollo  way)  ...  ..  ...  46 

E.  Miscellaneous         ...  ...  ...  ...  56 


xvi 


CONTENTS. 


ITI.  POETRY. 

PAGE 

A.  Collections   of   Irish   Poetry  (chronologically 

arranged)         ...  ...  ...  ...  60 

B.  Works  of  Individual  Poets  ...  ...  ...  75 

Poets  of   National  Struggle... Poets  of  the 
Gaelic  Tradition... Poets  of  Place... Poets  of 
J  the  Gaelic  Eevival... Satirical  and  Humorous 

Poets... Irish-American      Poets... The  Xew 
Movement. .  .Recent  Poetry. 

IV.  MUSIC. 

I.    Collections  of  Irish  Music    ...  ....       ...  Ill 

Early  Collections  ...  ...  ...  Ill 

18th  Century  Collections  ...  ...  ...  112 

19th  Century  Collections  ...  ...  ...  116 

Recent  Collections  ...  ...  ...  128 

Collections  of  Songs  in  Irish  ...  ...  136 

Some  Scottish  Collections  ...  ...  137 

II.    Original  Compositions. 

(a)  Instrumental  ...  ...  ...  141 

(h)  Vocal  ...  ...  ...  ...  145 

III.  Items    from    Publishers'    Catalogues  (Sheet 

Music)  ...  ...  ...  ...  148 

IV.  Books  about  Irish  Music  ...  ...  153 

(a)  History  ...  ...  ...  ...  153 

(h)  Instruments  ...  ...  ...  155 

(c)  Irish  Dancing  ...  ...  ...  157 

{d)  Technical  and  Miscellaneous  ...  ...  I57 


CONTENTS.  Xvii 

PAGE 

V.    IRISH    PLAYS    (arranged     chronologically)  By  J. 
HOLLOWAY  . 

Before  1700    159 

The  18th  Century           ...          ...          ...          ...  163 

Early  19th  Century  (1800-1831)   173 

Mid-Nineteenth  Century  (1832-1870)          ...          ...  181 

The  Seventies     ...          ...          ...          ...          ...  207 

The  Eighties       ...          ...          ...          ...          ...  217 

The  Nineties       ...          ...          ...          ...          ...  229 

The  Twentieth  Century — to  the  Present  Day.  Pp. 
244  to  end. 

Note  on  Some  Recent  Plays  by  the  Editor  ...          ...  244 


INDEXES 


325 


ABBREVIATIONS,  ETC. 

c.  (before  dates)  =  approximately;  sqq.  =  and  following  (years  or 
pages);  ed.  =  edition,  edited,  editor;  q.v.  =  which  may  be  referred 
to;  b.  (before  a  date)  =  born  in  — ;  N.Y.  =  New  York. 

Dates  in   square  brackets   are   those  of  first  publication. 

The  place  of  publication  has  been  mentioned  in  the  case  of  all 
but  Dublin-  or  London-published  books.  It  may  be  taken,  therefore, 
that  the  book  is  published  in  London  unless  the  imprint  of  one  of 
the  Dublin  publishers  appears  in  the  entry.  The  following  is  a 
list  of  these  latter: — Browne  &  Nolan,  Catholic  Truth  Society  of  Ireland, 
Duffy,  The  Educational  Co.  of  Ireland  (succeeding  Blackie  &  Co.,  and 
Fallon  &  Co.);  Gill  &  Co.  (fomerly  MoGlashan  &  Gill);  Hanna  &  Neale 
(formerly  William  Magee) ;  Hodges  &  Figgis  (formerly  Hodges  &  Smith, 
Hodges  and  Foster,  etc.);  Maunsel;  Irish  Messenger  Office;  Ponsonby ; 
Sealy,  Bryers  &  Walker ;  Sullivan  Bros. ;  Alex.  Thom  &  Co.  Besides 
these,  some  English  firms  have  branches  in  Dublin.  A  list  of  Music  pul^ 
lishers  will  be  found  on  p.  111. 


1. -COLLECTIONS  AND 
SELECTIONS. 


The  collected  works  of  individual  authors  will  be  found  on 
p.  1,  sqq.    Collections  of  Poetry  alone  on  p.  60^  sqq. 

Irish  Literature.   10  Volumes.   4126  pp.,  exclusive  of 
introductory  essays,  averaging  over  20  pp. 
Originally  published  by  John  D.  Morris  &  Co.  Afterwards 
taken  over  by  the  De  Bower  Elliott  Co,,  Chicago,  and 
brought  out  in  1904. 

Edited  by  Justin  M'Carthy,  M.P.,  wath  the  help  of  an 
advisory  committee,  including  Stephen  Gwynn,  M.P. ;  Lady 
Gregorv,  Standish  0 'Grady,  D.  J.  O'Donoghue,  Douglas 
Hyde,  LL.D.;  J.  E.  Redmond,  M.P.;  G.  W.  Russell  ("  A. 
E."),  J.  J.  Roche,  LL.D.,  of  the  Boston  Pilot;  Prof.  W.  P. 
Trent,  of  Columbia  University;  Prof.  F.  N.  Robinson,  of 
Harvard;  H.  S.  Pancoast,  and  W.  P.  Ryan;  with  Charles 
Welsh  as  Managing  Editor. 

Scope  and  Object:  To  give  a  comprehensive,  if  rapid,  view 
of  the  w^hole  development  of  Irish  Literature  from  its 
earliest  days.  In  the  words  of  the  Editor  it  is  "  an  illus- 
trated catalog  of  Ireland's  literary  contributions  to  man- 
kind's intellectual  store." 

The  Choice  of  Extracts  is  determined  by  two  canons : 
literary  value  and  human  interest.  The  Library  gives 
examples  of  "  all  that  is  best,  brightest,  most  attractive, 
readable,  and  amusing,"  in  the  waitings  of  Irish  authors. 
There  is  no  dry-as-dust.  The  extracts  comprise  mythology, 
legend,  folklore,  poems,  songs,  street-ballads,  essays, 
oratory,  history,  science,  memoirs,  fiction,  travel,  drama, 
wit  and  humour.  The  vast  majority  are  chosen  as  being 
specially  expressive  of  Irish  nationality.  Choice  is  made 
both  from  the  Gaelic  and  the  Anglo-Irish  literatures,  but 
the  ancient  Gaelic  literature  is  given  solely  in  translation. 
A  volume  (the  tenth)  is  given  to  modern  Gaelic  literature, 
the  Irish  text  and  English  translation  being  given  on  oppo- 
site pages.  This  volume  also  contains  brief  biographies  of 
ancient  Gaelic  authors.  The  extracts  are  never  short  and 
scrappy,  but  nearly  always  complete  in  themselves. 


(Prose  and  Verse.) 


B 


2 


GUIDE  TO  BOOKS   OX  IRELAND. 


Other  Special  Features:  Three  liundred  and  fifty  Irish 
authors  are  represented  by  extracts.  Of  these  one  hundred 
and  twenty  are  contemporaries,  the  great  modern  intel- 
lectual revival  bein^r  thus  very  fully  represented. 
The  extracts  are  given  under  tlie  name  of  tlie  authors,  and 
these  names  are  arranged  alphabetically,  beginning  in 
Vol.  I.  with  ]\Irs.  Alexander,  and  ending  with  W.  B.  Yeats 
in  Vol.  IX. 

To  the  extracts  from  each  author  there  is  prefixed  a  biogra- 
phical notice,  including,  in  many  cases,  a  literary  apprecia- 
tion by  a  competent  authority,  and  a  iPairly  full 
bibliography. 

Each  volume  contains  an  article,  by  a  distinguished  writer, 
on  some  special  department  of  Iiish  literature.  Thus,  the 
Editor-in-chief  gives  a  general  survey  of  the  whole  subject. 
W.  B.  Yeats  writes  on  Irish  Poetry,  Douglas  Hyde  on 
Early  Irish  Literature,  Dr.  Sigerson  on  Ireland's  Influence 
on  European  Literature,  Maurice  Francis  Egan  on  Irish 
Novels,  Charles  Welsh  on  Fairy  and  Folk  Tales,  J.  F. 
Taylor,  K.C.,  on  Irish  Oratory,  Stephen  Gwynn  on  the 
Irish  Theatre,  etc. 

Index  of  authors,  books  quoted  from,  titles  and  subjects 
dealt  with — exceptionally  full  and  valuable  (over  80  pp.) 
Piihlisher's  7vorl\  1.  Illustrations,  over  100  (several  in 
colour),  consisting  of  facsimiles  of  ancient  Irish  MSS.,  and 
of  ancient  prints  and  street-ballads,  portraits  of  Irish 
authors,  views  of  places,  objects,  scenery  and  incidents  of 
Irish  interest. 

2.  Letterpress — large  and  clear  type. 

3.  Binding — cloth,  and  half -morocco. 

4.  Price — has  varied  a  good  deal  since  first  publication. 

Tlie  Cabinet  of  Irish  Literature.  4  Volumes.  Super 
]'ov.  8vo ;  pp.  311  +  324  +  346  +  369.  (Gresham  Pub- 
lishing Co.) ;  8s.  6d.  each.  Illustrations  in  black 
and  white  by  J.  H.  Bacon,  C.  M.  Sheldox,  W. 
Rainfa',  etc.,  and  portraits.  1.903. 

Editors:  Originally  planned  by  C.  A.  Read,  who  collected 
matter  for  the  first  three  volumes  of  the  orifrinal  edition. 
Completed  and  edited  by  T.  P.  O'Connor,  M.P.  New 
edition  brought  out  by  ]\Irs.  Katharine  Tynan  Hinkson. 
Kcw  edition:  The  original  edition  (1879)  was  published  by 
Blackie.  The  new  edition  contains  about  the  same  quan- 
tity of  matter,  but  large  portions  of  the  original  edition 
liave  been  omitted  to  make  room  for  new  matter,  which 
occupies  the  whole  of  the  fourth  volume,  and  a  large  part 


COLLECTIONS  AND  SELECTIONS. 


3 


of  the  third.  A  new  Introduction  (pp.  xi.-xxxiv.)  has  been 
prefixed.  It  is  a  general  survey  of  Irish  literature. 
Scope,  arrangement,  etc.:  The  authors  are  arranged  chrono- 
loo-ically.  There  is  first  a  sketch  (full  and  carefully  done)  of 
each  author's  life  and  works;  then  follow  extracts,  as  a 
rule  very  short,  from  his  works.  The  principle  of  selection 
is  to  give  such  extracts  as  would  best  illustrate  the  author's 
style,  to  avoid  anything  hackneyed,  and  "  anything  that 
would  offend  the  taste  of  any  class  or  creed." 
In  the  original  edition  there  was,  perhaps  inevitably,  little 
•  of  Irish  Ireland,  still  less  of  Gaelic  Ireland.  That  has  been 
to  a  certain  extent  remedied  in  the  new  edition.  But  the 
old  edition  had  the  advantage  of  containing  a  mass  of 
information  about  little  known  writers  and  of  extracts  from 
curious  and  rare  books. 

Murray  (John  O'Kane).  The  Prose  and  Poetry  of 
Ireland.    (New  York :  Collier).     3ed.  1877. 

A  large  book,  containing  extracts  from  22  principal  authors 
from  St.  Columbkille  to  Fr.  Thomas  Burke,  O.P.,  includ- 
ing Michael  O'Clery,  Steele,  Swift,  Goldsmith,  Sheridan, 
Moore,  Griffin,  Banim,  Archb.  MacHale,  Grattan,  Davis, 
etc.  There  is  a  life,  with  some  critical  remarks  (both  of 
poor  quality),  prefixed  to  each.  This  is  followed  by  a  few 
pp.  of  Miscellanies — short  specimens  of  writers  not  deemed 
worthy  to  appear  among  the  22,  such  as  Lover,  Gavan  Duffy, 
Sir  Aubrey  de  Vere,  Wolfe,  and  the  editor  himself. 

MacMahon  (Thornton),  ed.  The  Casket  of  Irish  Pearls. 
Pp.  xxiv.  +  240.  16mo.  (Duffv).  Duffy's  Library 
of  Ireland.  1846. 

Short  extracts  in  prose  and  verse,  chiefly  of  a  strongly 
national  character,  from  Davis,  Mangan,  Carleton,  Griffin, 
Dr.  Kane,  etc.  "  One  object  we  have  in  view  in  collecting 
together  extracts  from  Irish  authors  solely  is  to  suggest 
to  our  people  the  sources  from  whence  alone  they  can  draw, 
unpolluted,  a  knowledge  of  their  country  and  of  what  has 
been  written  of  its  past  history."    (p.  x.j^ 

Dtck  (Wm.  B.).  Irish  Dialect  Recitations.  Pp.  170. 
16mo.   (New  York :  Dick  and  Fitzgerald).  1879. 

*'A  collection  of  rare  Irish  stories,  poetical  and  prose 
recitations,  humorous  letters,  Irisli  witticisms,  and  funny 
recitals  in  the  Irish  dialect.*' 


4 


GUIDE  TO  BOOKS   ON  IRELAND. 


Jennings  (Rev.  J.  A.),  M.A.     Readings  from  Irish 
Authors.  Pp.256.  (Dublin:  Carson  Bros.).  1883. 

Mr.  Jennings  has  also  edited  the  very  successful  "  Readings 
from  Charles  Dickens  "  and  "  The  Modern  Elocutionist." 
In  the  present  book  all  the  extracts,  except  four,  are  by 
Irish  writers.  They  are  chosen,  not  as  representative,  but 
as  best  for  Reading  purposes.  The  selection  is  excellent, 
evidently  by  a  reader  who  admires  and  loves  Irish  litera- 
ture. They  are  very  varied  in  character;  and  there  does 
not  seem  to  be  one  which  does  not  answer  to  the  author's 
endeavour  "  to  bring  together  poetry  and  prose  remarkable 
for  intellectual  power,  sterling  pathos,  moral  teaching,  or 
the  affording  of  healthy  amusement."  Poems  of  a  political 
complexion  are  not  included.  There  is,  perhaps,  too  much 
of  Lever  and  Lover  and  the  like. 

Sullivan  (A.  M.,  T.  D.  and  D.  B.).   Irish  Readings. 
640  pp.  (Gill).  Paper  covers,  Is. ;  cloth,  2s.  6d. 

An  excellent  collection  of  pieces  by  Irish  writers,  chosen 
from  every  class  of  Anglo-Irish  literature,  essay,  history, 
speech,  poetry,  political  squib,  pamphlet,  sketch.  Many  of 
the  pieces  included  have  not  been  published  elsewhere. 
With  very  few  exceptions,  all  are  of  a  high  standard  of 
excellence. 

Gill's  Irish  Reciter.   Pp.  xx.  +  271.     (Gill).     2s.  6d. 
1905 

Interesting  Introduction  by  J.  J.  0 'Kelly,  the  editor.  Con- 
sists of  pieces  in  Irish  and  in  English  (both  prose  and 
verse),  about  the  same  number  of  each.  Taken  from 
modern  lit.  of  Ireland,  M.  McDermott,  S.  MacManus,  J. 
Boyle  O'Reilly,  J.  F.  Meagher,  Richard  Dowling,  Cathal 
O 'Byrne,  Etbna  Carbcry,  Geo.  Sigerson,  John  Keegan, 
Mrs.  0 'Donovan  Rossa,  J.  F.  O'Donnell,  Fanny  Parnell, 
Cathal  McGarvey,  Brian  O'Higgins.    Nothing  by  Moore. 

Ford  (Robert),  ed.  Popular  Irish  Readings.   Pp.  128. 
(A.  Gardner).    Is.  1910. 

•  From  J.  Gilkison,  Archibald  McConochie,  Father  Ryan, 
Lover,  Lever,  Lefanu,  Griffin,  T.  Crofton  Croker,  etc.,  etc.'* 
(adv.)    Largely  of  the  stage-Irish  type. 


COLLECTIONS  AND  SELECTIONS. 


6 


KiRTON  (John  W.),  LL.D.  The  Standard  Irish  Reciter. 
Pp.  192.    (Ward  Lock).   Is.   Current  catalogue. 

The  selections  (prose  and  verse)  are  largely  of  what  we  now 
call  the  ''Stage  Irish  "  type.  There  are  few  serious  pieces 
in  the  book.  Nearly  half  the  book  is  by  Lover,  and  nearly 
a  third  is  anonymous.  There  are  a  large  number  of 
dialogues. 

Pearson's.  Irish  Reciter  and  Reader.  Pp.  312.  (C. 
A.  Pearson).   2s.  6d:  1904,  1906,  etc. 

Preface  signed  P.  M.  P.  Some  introductory  hints  on  how 
to  recite.  Divisions  :— Legendary  verse  and  prose  (chiefly 
folk-tales,  only  one  piece  from  Irish  heroic  literature). 
Patriotic  (8  pieces,  12  pp.)  Miscellaneous  verse  and  prose. 
Humorous  verse  and  prose  (pp.  179 — end).  Very  varied  in 
the  style  of  its  contents.  There  is  little  that  an  Irishman 
would  object  to,  but  the  Gaelic  note  is  wholly  absent. 
Writers  of  all  kinds  are  drawn  upon — Moore,  Lover,  and 
Croker,  etc.  Among  the  older  and  more  recent  writers, 
Dora  Sigerson,  Shorter,  Katharine  Tynan,  W.  B.  Yeats, 
Letitia  Maclintock,  James  M.  Lowry,  A.  P.  Graves,  Theo- 
dore Parkes  (some  fine  pieces),  and  many  others.  Not  more 
than  two  or  three  pieces  could  fairly  be  considered  vulgar. 
The  literary  standard  is  good,  though  the  best  is  omitted. 
Many  of  the  i^ieces  arc  much  too  long  for  recitation. 

O'DoNOGHUE  (D.  J.).  The  Humour  of  Ireland.  Pp,  432. 
International  Humour  Series.  (Walter  Scott.) 
Bs.Gd.  Hlustr.  1894. 

A  selection  of  about  100  pieces  from  the  leading  Irish 
humorists.  Claims,  and  with  justice,  to  be  a  thoroughly 
representative  selection,  the  few  omissions  being  due  to  the 
refusal  of  the  right  to  reproduce.  The  author  has  almost 
completely  excluded  the  spurious  rubbish  which  too  often 
passes  for  Irish  humour — especially  in  England.  We  cannot 
think  he  has  quite  excluded  objectionable  matter.  The  vul- 
garity  of  some  of  the  pieces  does  not  seem  to  be  quite  com- 
pensated for  by  qualities  of  wit  or  humour.  Such  seem 
to  us,  "  Donnybrook  Fair,"  "  Nell  Flaherty's  Drake," 
"  Lanigan's  Ball,"  "  I^i^ig  0 'Toole  and  his  Goose," 
"  O'Shanahan  Dhu,"  "  Whiskey  and  Wather,"  and  a  few 
others.  These  seem  to  contrast  with  the  genuine  humour  of 
"  The  Widow  Malonc,"  for  instance,  which  belongs  to  the 


GUIDE  TO  BOOKS   ON  IRELAND. 


same  class.  But,  of  course,  this  is  matter  of  opinion.  Ex- 
tracts are  included  from  Swift,  Steele,  Farquhar,  Goldsmith, 
O'Keeffe,  Sheridan,  Maginn,  Lover,  Lever,  Lefanu, 
Kickham,  A.  P.  Graves,  F.  A.  Fahy,  Edmund  Downey,  P. 
J.  M'Call,  and  a  host  of  others.  Of  very  few  of  these  writers 
are  more  than  two  extracts  included.  The  Introduction 
deals  critically  with  the  history  and  character  of  Irish 
Literature.  At  the  end  is  a  Biographical  Index  of  writers. 
I  think  any  Irishman  will  agree  that  the  illustrations  by 
"  Oliver  Paque  "  are  a  blot  on  the  book.  Whenever  they 
even  attempt  to  be  Irish  they  are  vulgar  caricatures.  For 
this  the  author  was  not  responsible. 


II.-PROSE  LITERATURE. 


Collected  Works. 


Tlie  \\urks  grouped  under  this  head  are  of  a  miscLHaiieous 
and,  as  a  rule,  partially  literary  character.  Volumes  of  c^smujs 
will  be  found  in  the  next  section.  Some  of  these  might  logically 
be  placed  here,  but  I  think  the  classification  chosen  will  be  found 
convenient. 

BuKKE  (.Edmund;.  Works. 

There  have  been  many  editions  of  the  complete  works,  but 
they  do  not  contain  anything  of  Irish  interest  that  is  not 
included  in  jMathew  Arnold's  selection  :  "  Edmund  Burke 
on  Irish  Affairs,"  for  which  see  p.  14. 

0"SuLLivAN  (Rev.  Samuel ).  Kemains.  3  Vols.  (.Dublin). 
1853. 

Edited  by  llev.  J.  C.  Martin,  D.D.,  and  Rev.  Mortimer 
O 'Sullivan.  Contains,  along  with  theological  and  contro- 
versial matter  (Protestant),  some  sermons  and  tracts  relat- 
ing to  Ireland;  ^Memoirs  of  the  Duke  of  Ormonde,  Earl  of 
Chailemont,  Lord  Clare,  "Dean  Kii'wan,  Lord  Gough,  Rev. 
Dr.  Miller,  and  John  Sydney  Taylor;  Ireland  in  1829;  Dr. 
Plielan's  Life  and  Remains;  Discovery  of  Emmet's  Insur- 
rection; Lord  Roden  on  Crime  in  Ireland;  Thuggee  in 
India  and  Ribbonism  in  Ireland;  Colquhoun  on  the  present 
state  of  Ireland;  Knox  and  Jebb's  Correspondence.  Observa- 
tions on  a  proposal  for  the  reconciliation  of  the  Protestant 
and  Roman  Catholic  Churches,  etc.,  etc. 

Puelan's  (Rev.  Dr.  W.),  Heuuiius.  Edited,  with 
Biographical  Memoii',  bv  the  Rev.  T)r.  Jebb.  Bishop 
of  Limerick.   2  Vols.  1832. 

Comprises  History  of  Policy  of  Church  of  Rome  in  Ireland ; 
Essays;  Discourses,  etc. 


8  GUIDE  TO  BOOKS   ON  IRELAND. 

UssHER  (James),  D.D.  The  Whole  Works.  17  Vols. 
Demy  8vo.    (Hodges  &  Smith).  1847. 

Edited,  with  life  of  author  and  account  of  his  writings,  by 
C.  R.  Elrington,  D.D.,  Regius  Professor  of  Divinity  in 
University  of  Dublin.  The  volumes  appeared  at  intervals 
between  1829  and  1864.  They  cost  the  University  (exclusive 
of  payments  made  to  transcribers,  advertising,  and  other 
incidental  expenses),  £3,800.  Contents  Vol.  I. — Life.  II.- 
III. — Controversy,  IV. — Mainly  controversy,  except  "  Vete. 
rum  epistolarum  hibernicarum  sylloge  "  (a  collection  of 
letters  relating  to  Ireland  from  592  to  Giraldus  Cambrensis. 
In  Latin,  pp.  399-572.  Includes  Pope  Gregory,  St.  Colum- 
banus,  St.  Malachy,  etc.).  Vols.  V.  and  VI. — Antiquitates 
Ecclesiarum  Britianicarum  (ch.  XVI.  deals  with  Ireland). 
Vol.  VII. — Church  History  and  Controversy.  Vols.  VIII., 
IX.,  and  X. — Annales  Veteris  Testamenti.  Vol.  XL  con- 
tains— "  The  first  establishment  of  the  English  Laws  and 
Parliaments  in  the  Kingdom  of  Ireland,"  and  "  A  dis- 
course showing  when  and  how  far  the  imperial  laws  were 
received  by  the  Old  Irish  and  the  inhabitants  of  Great 
Britain."  Vol.  Xll.-Chronologia  Sacra.  Vol.  XIII.— 
Sermons.  Vol.  XIV. — Theology  and  Controversy.  Vols. 
XV.  and  XVL — Correspondence.    Vol.  XVII. — Index. 

Cahill  (Rev.  D.  W.).  First  American  Edition  of  the 
Works  of  the  Rev.  D.  W.  Cahill,  D.D.  Pp.  392. 
12s.     (Boston:  Donohoe).  1855. 

''Containing  sketch  of  his  life;  the  most  important 
addresses,  speeches,  controversial  sermons,  etc.,  delivered 
in  Ireland,  England  and  Scotland,  together  with  his  letters 
to  Lord  John  Russell." 

Whiteside  (Chief  Justice).  Essays  and  Lectures: 
Historical  and  Literarv.^  (Hodges,  Foster).  C. 
1870. 

Contents  : — Life  and  Death  of  the  Irish  Parliament;  The 
City  of  Rome  and  its  vicissitudes;  Oliver  Goldsmith — his 
friends  and  his  critics ;  The  Homely  Virtues ;  The  Church 
in  Ireland. 

McMeekin  (Rev.  David),  Ballymena.  The  Select  Works 
of  David  Herbison,  with  Life  of  the  Author.  8vo. 
Pp.  xxiv.  +  326.   C.    Belfast:  N.  D.  (1883). 

I  Ought  properly  to  be  entered  on  p.  12. 


PROSE  LITERATURE. 


9 


CuLLEN  (Cardinal).  Writings.  3  Vols.  Pp.  873  +  802 
+  813.   (Browne  &  Nolan).  1882. 

Edited  by  Bight  Rev.  P.  F.  Moran,  D.D.,  Bishop  of  Ossory, 
afterwards  Cardinal.  Almost  exclusively  pastoral  letters 
dcaliiw  with  matters  of  religious  discipline  and  piety.  The 
secular  matters  dealt  with  are  chiefly  education  in  Ireland, 
and  in  particular  the  Catholic  University  (1850  sq.) 
Prosclytism  and  sectarian  strife,  Fenianism  (which  is  un- 
sparingly condemned.  Vol.  II.,  pp.  134,  388,  etc.),  and 
O'Connell's  centenary,  1875.  The  documents  cover  the 
period  1850-1878,  and  are  printed  in  chronological  order. 
Ko  Index, 

Maginn  (William).  Miscellanies  :  A  Selection.  2  Vols. 
Pp.  373  +  384.  (Sampson  Low).  1885. 

Edited  by  R.  W.  Montagu.  Contains  Memoir  of  author 
and  about  60  pieces  in  prose  and  verse.  The  following  are 
Irish  in  subject : — Adjutant  O'Doherty,  Ode  to  Mrs. 
Flanagan,  Inishowen,  O'Doherty  on  Werner,  on  Irish  Songs, 
Bob  Burke's  Duel  with  Ensign  Brady,  The  Irishman  and 
the  Lady,  O'Donoghue's  Dirge,  Royal  Visit  to  Ireland, 
Mocre-ish  Melodies  (parodies  of  Moore).  The  above  are 
either  graceful  ballads,  jeux  d 'esprit s,  or  humorous  narra- 
tives, told  in  a  vein  of  wild  gaiety.  Maginn  (1793-1842) 
was  a  Corkman.  He  contributed  to  many'  English 
magazines,  and  was  one  of  the  founders  of  Fraser's,  the 
contributors  to  which  included  the  best  talent  of  England. 
He  was  an  Ultra-Tory  and  an  Orangeman.  Dr.  Mackenzie 
edited  in  1857  TJic  Muccllanics  of  Williavi  Maginn  (5  vols.), 
published  in  America. 

Sheridan  (Richard  Brinsley).  Works.  (London),  1871 
(2  Vols.)  and  1891  (1  Vol.).  Edited,  with  Memoir, 
by  James  P.  Browne,  with  Extracts  from  Sheri- 
dan's Life  by  Thomas  Moore. 

  Works.    (London).  1875. 

Edited  by  F.  Stamforth,  and  containing  dramas,  poems, 
translations,  speeches,  and  unfinished  sketches,  with 
memoir  of  author;  a  collection  of  ana  and  ten  reproductions 
of  chalk  drawings. 


10 


GUIDE  TO  BOOKS   ON  IRELAND. 


''MacLeod  (Fiona)/'  [--William  Sharp.]  Collected 
Works.  7  Vols.  (HGineiiiaDii).  5s.  net.  each. 
1910. 

Viz.,  I. — Pliarais  :  The  Mountain  Lovers.  II. — The  Sin 
Eater  :  The  Washer  of  the  Ford.  III.— Under  the  Dark 
Star.  IV.— The  Divine  Adventure;  lona,  etc.  V.— Tlio 
Winged  Destiny.  VI. — The  Silence  of  Amor  :  Where  the 
Forest  Murmurs.  VII. — Poems  and  Dramas.  Much  of 
this  work  comes  under  the  head  of  fiction,  and  an  account 
of  that  portion  of  it  will  be  found  in  "  A  Reader's  Guide  to 
Irish  Fiction,"  by  the  present  editor.  Notes  on  vols.  IV. 
and  V.  will  be  found  on  pp.  56  and  41,  respectively. 

Syxge  (J.  M.).  Works.  A  Collected  Ed.  in  4:  Vols. 
Demy  8vo.  (Maunsel).  Bound  in  buckram,  4 
parts.  1910. 

Vol.  I.— Plays.  Vol.  IL— Plays  and  Poems.  Vol.  III.— 
The  Aran  Islands.  Vol.  IV. — Sketches  in  Wicklow,  Kerry, 
and  C-onnemara.  The  matter  of  vols.  III.  and  IV.  belongs 
by  right  to  the  realm  of  pure  literature  as  much  as  Steven- 
son's Travels  with  a  Donkey  in  the  Cevennes."  Never- 
theless, it  is  more  convenient  to  class  them  under 
"  Topography,"  as  they  would  naturally  be  looked  for  under 
that  head.    See  vol.  III.  of  the  Reader's  Guide. 

Yeats  (W.  B.).  The  Collected  Works  in  Prose  and 
Verse  of  William  Butler  Yeats.  8  Vols.  Uemy  8vo. 
Bound  with  quarter  vellum,  black  and  grey  cloth 
side.  Printed  at  Shakespeare  Head  Press,  Strat- 
ford-on-Avon.  £1  4s.  net.  Sold  only  in  sets.  1.060 
•sets  printed.    (A.  H.  Bullen).  1908. 

All  the  contents  of  this  are  noted  either  elsewhere  in  the 
present  volume  or  in  "A  Reader's  Guide  to  Irish  Fiction." 


PROSE  LITERATURE. 


11 


B.— Essays. 

(lucludiDg  Lectures  and  Sketches  of  various  kinds). 

Davis  (Thomas).  Prose  Writiiio-s  of.  Edited,  with  lui 
Introduction,  by  T.  W.Eolkston.  Pp.285.  (Walter 
Scott:  The  Camelot  Series).   Is.    1st  ed.,  1889. 

The  best  collection  of  Davis'  essays  published;  very  neat 
volume.  It  includes — (1)  Davis'  famous  address  (43  pages) 
before  the  Trinity  College  Debating  Society — a  criticism  of 
the  education  of  the  day,  a  powerful  exhortation  to  the  class 
represented  by  his  iiearers  to  educate  themselves  to  become 
useful  citizens,  ending  with  a  fervid  appeal  to  rem.ember 
they  had  a  country,  and  to  love  it  and  serve  it.  (2)  An 
Essay,  Udalism  and  Feudalism  (types  of  land  tenure.)  (3) 
The  Literary  and  Historical  Essays  by  which  Davis,  in  the 
pages  of  "  The  Nation,"  educated  the  people  in  patriotism. 
They  arc  full  of  suggestion  and  of  enthusiasm,  rather  than 
of  erudition;  full  of  high,  yet  perfectly  sane  and  realizable 
ideals.  (4)  Political  Articles.  (5)  Maxims  and  Reilections 
taken  from  essays  not  included  in  this  selection. 
Subjects  of  division  (3) — The  Glories  of  Ancient  Ireland  (4 
or  5  essays),  iMemorials  of  ^Yexford,  The  Irish  Brigade,  The 
Speeches  of  Grattan,  The  Resources  of  Ireland,  National 
Art,  Commerce,  Music,  Literature,  and  Scenery,  Methods  of 
self -education,  etc.,  etc.  The  editor  says  very  well — "  Few 
readers  will  fail  to  be  touched  and  exalted  by  the  revelation 
which  these  writings  contain  of  a  spirit  as  high,  sincere, 
unselfish,  sweet,  and  brave  as  ever  illuminated  the  history 
of  any  people.' ' 

Messrs.  P.  J.  Kenedy,  of  New  York,  publish  in  one  vol. 
($1.20)  the  Poems  and  Essays.  This  they  claim  to  be  the 
only  complete  edition.  Contains  John  Mitchel's  Introduc- 
tion. 

Giles  (Henry),  1809-1882.  Lectures  and  Essavs  on 
Irish  and  Other  Subjects.  2  Vols.  (Boston,  after- 
wards New  York:  Sadlier).  [1845.]  1850,  18G9, 
etc. 

Includes  a  fine  essay  on  "  Tlio  Irish  Intellect."  This  is  a 
publication,  in  book  form,  of  lectures  which  drew  crowded 
audiences  in  U.S.A.  They  were  highly  commended  by  Miss 
Mitford  in  her  "  riccollections  of  a  Literary  Life."  Henry 
Giles  was  born  in  Wexford.     He  became  a  Unitarian 


12 


GUIDE  TO  BOOKS   ON  IRELAND. 


minister,  and  in  1840  went  to  America,  where  he  became  a 
well-known  lecturer.  Other  pieces  deal  with  O'Connell, 
Curran,  Griffin,  Dr.  Doyle  (J.  K.  L.),  Goldsmith.  Written 
with  warm  sympathy  for  Ireland,  and  in  a  graceful  and 
thoughtful  style. 

The  Voice  of  the  Nation.  Pp.193.   (Duffy).  1844. 

A  reprint  of  60  articles  from  "  The  Nation  "  newspaper,  by 
Davis,  Duffy,  Doheny,  McNevin,  Dillon,  and  O'Neill  Daunt. 
The  papers  are  of  a  miscellaneous  character — questions  of 
the  day,  discussions  of  abstract  principles,  politics,  home 
and  foreign.  There  is  not  much  in  the  book  that  has  quite 
lost  its  interest  for  Irishmen  even  at  the  present  day. 

Sheil  (Richard  Lalor).  Sketches,  Legal  and  Political. 
Edited,  with  Notes,  by  M.  W.  Savage.  2  Vols. 
Pp.  411  +  374.   (Hurst  &  Blackett).  1855. 

Contributed,  between  1822  and  1831,  to  the  New  Montlily 
Magazine,  which  was  remarkable  at  the  time  for  the  bril- 
liancy of  its  articles.  Contains — (1)  Sketches  of  the  career 
and  character  of  the  following  members  of  the  Irish  Bar  : 
Bushe,  Saurin,  Joy,  Lord  Norbury,  Bellew,  O'Loghlen, 
Leslie  Foster,  The  Catholic  Bar.  (2)  Notes  upon  circuit, 
including  accounts  of  some  remarkable  cases  of  the  time. 
(3)  Three  articles  on  the  state  of  parties  in  Dublin  at  a 
time  of  peculiar  confusion  (1823-4).  (4)  An  account  of  the 
Catholic  deputation  in  1825.  (5)  Full  account  (56  pages) 
of  the  famous  Clare  election.  (6)  A  forecast  of  the  effects 
of  Emancipation  (written  Dec,  1829.)  (7)  Recollections  of 
the  Jesuits,  being  reminiscences  of  his  stay  at  their  schools 
at  Kensington  (in  reality  that  of  the  Peres  de  la  Foi)  and 
Stonyhurst.  (8)  Zoology  in  Dublin,  1830.  (9)  The  Irish 
Elections,  1831.  The  author's  standpoint  is  Catholic  and 
Liberal. 

Abraham  (G.  W.),  LL.D.,  M.R.I. A.  Essays,  Historical, 
Critical,  and  Political.  Pp.  viii.  +  637.  Demy 
8vo.    (Richardson).  1868. 

Twenty-four  essays,  contributed  principally  to  the  Dublin 
Review.  Only  the  last  four  on  Irish  subjects,  viz. — Peel's 
Memoirs,  Education  in  Ireland,  Principles  and  Parties,  Eng. 
lish  and  Irish  Liberals.  Written  from  the  standpoint  of 
O'Connell's  Catholic  Liberalism.  Throw  considerable  light 
on  contemporary  politics. 


PROSE  LITERATURE. 


13 


Senior  (William  Nassau).  Journals,  Conversations, 
and  Essays  relating  to  Ireland.  2  Vols.  Pp.  313  + 
299.   (Longmans).  2nd  ed.  1868. 

Embrace  the  period  1835-1862.  Writer  holds  that  the  material 
evils  of  Ireland  are  want  of  capital  and  of  small  proprietors. 
The  moral  evils  are  Insecurity,  Indolence  and  Ignorance. 
The  only  thing  to  be  done  is  to  make  the  laws  less  un- 
popular'^by  removing  legitimate  grievances,  e.g.,  excessive 
Protestant  endowment,  non-recognition  of  Catholic  Church, 
which  should  be  endowed.  Believes  the  Irish  people  to  be 
wholly  in  hands  of  priests,  who  are  a  barrier  to  all  progress. 
Is  opposed  to  Tory  Government. 

Contents  : — An  Essay  on  National  Property  :  Ireland  in 
1843  :  Proposals  for  extending  Irish  poor-law  :  Relief  of 
Irish  distress,  1847-8  :  Journal  of  a  fortnight's  visit  to 
Ireland,  1852  :  Journal,  1852  :  Journal,  1858  :  Journal,  1862. 
In  these  Journals  the  author  records  at  length  conversations. 
"  Nearly  all  the  persons  whose  conversations  I  extract  were 
owners  or  managers  of  land." 

Burke  (Revd.  Thomas),  O.P.    Lectures  and  Sermons. 
Pp.664.  Imp.  8vo.   (New  York :  Haverty).  1872. 

Author's  edition.  Contains,  apart  from  purely  religious 
discourses  : — St.  Patrick  (the  character  and  permanence  of 
his  work).  Funeral  oration  on  O'Connell,  The  History  of 
Ireland  as  told  by  her  ruins,  The  Supernatural  Life  the 
Absorbing  Life  of  the  Irish  People,  The  National  Music  of 
Ireland,  The  Exiles  of  Erin,  The  Irish  People  in  their  Rela- 
tion to  Catholicity.  The  lectures  are  characterised,  not  so 
much  by  their  learning  or  novelty,  as  by  the  force  and  fire 
of  their  language  and  their  glowing  patriotism.  "  There  is 
no  pretension  to  anything  like  style,"  says  Father  Burke. 
Yet  at  times  a  high  level  of  impressive  eloquence  is  reached. 
Messrs.  P.  J.  Kenedy,  of  New  York,  publish  a  very  com- 
plete edition  in  3  vols.  Sold  separately,  viz. — 1st  series, 
with  Pteply  to  Froude,  $1.25;  2nd  series,  $1.25;  3rd  series, 
Lectures  in  Ireland,  $1.50.  This  edition  includes  his 
sermons.  No  Irish  publisher  seems  to  have  an  edition  of 
his  lectures  still  in  print. 

Armstrong  (E.  J.).   Essays  and  Sketches.     Pp.  306. 
(Longmans).  5s.  1877. 

Contains  nothing  of  distinctively  Irish  interest,  except  a 
fragment  entitled  Irish  Literature,"  and  an  essay  on 
"  The  Irish  Sporting  Youth." 


14 


GUIDE  TO  BOOKS   OX  IRELAND. 


Burke  (Edmund).  Edmund  Burke  on  Irish  Affairs. 
Edited  by  Matliew  Arnold.  Pp.  xiii.  +  439.  (Mac- 
millan).  6s.  1881. 

These  writings  deal  with  the  period  1760-1797.  They  in- 
elude — (1)  Tracts  on  the  Popery  Laws.  (2)  A  speech  de- 
livered at  the  Guildhall,  Bristol,  in  1780.  (3)  Letters. 
"  Burke  is  the  greatest  of  our  political  thinkers  and  writers. 
But  his  political  thinking  and  writing  has  more  value  on 
some  subjects  than  on  others;  the  value  is  at  its  highest 
when  the  subject  is  L-eland.  The  writings  collected  in  this 
volume  cover  a  period  of  more  than  30  years  of  Irish  His- 
tory, and  show  at  Vv'ork  all  the  causes  which  have  brought 
Ireland  to  its  present  state.  The  tyranny  of  the  grantees 
of  confiscation ;  of  the  English  garrison ;  Protestant  ascen- 
dency; the  reliance  of  the  English  Government  upon  this 
ascendency-  ...  as  their  means  of  government ;  the  yielding 
to  menaces  of  danger  and  insurrection  what  was  never 
yielded  to  considerations  of  equity  and  reason  .  .  .  — all 
these  are  shown  in  this  volume."  (Pref.). 


Arnold  (Mathew).  Irish  Essays:  and  Others.  Pp. 
308.    (Smith  Elder).  1882. 

"  The  great  contention  of  these  essays  is  that,  in  order  to 
attach  Ireland  to  us  solidly,  English  people  have  not  only 
to  do  something  different  from  what  they  have  done  hitherto, 
they  have  also  to  he  something  different  from  what  they 
have  been  hitherto."  (Pref.)  First  Essay — "  The  Incom. 
patibles,"  inquires  into  the  causes  of  Ireland's  hostility  to 
England,  and  to  the  methods  by  which  the  countries  may 
be  reconciled  and  made  to  fuse.  Second  Essay — An  Un- 
regarded Irish  Grievance,"  viz.,  the  inadequacy  of  the 
education  provided  for  the  middle  classes.  These  two 
(108  pp.)  are  the  only  two  of  Irish  inter-est.  Other  Essays 
included  in  the  volume  are — The  Future  of  Liberalism,  The 
French  Play  in  London,  Copyright,  Prefaces  to  poems.  The 
standpoint  is  very  English,  but  independent  of  party  bias. 
The  views  are  nearly  those  of  Edmund  Burke. 

Mangan  (James  Clarence).  Essays.  Edited  by  R^yd. 
C.  P.  Meehan.  Pp.  320.  i6mo.  (Duffy).  Is. 
1884,  etc. 

Contains  six  prose  pieces,  all  except  one,  viz. — The  Two 
Flats,  or  our  Quackstitution,  contained  in  O'Donoghue's 


PROSE  LITERATURE. 


16 


edition  (q^v,).  This  essay  is  a  humorous  skit  on  the  British 
Constitution,  especially  the  House  of  Lords.  The  remainder 
of  the  book  consists  of  poetical  pieces.  See  under 
"  Poetry." 

Mangan  (James  Clarence).  The  Prose  Works  of. 
Edited  by  D.  J.  O'Donoghiie.  Pp.  329. 
(O'Donoghue  &  Co.  and  Sidgwick\  3s.  6d.  net. 
1904. 

Contains  :— The  30  Flasks,  the  Man  in  the  Cloak,  The 
Churl  in  the  Grey  Coat,  Chapters  on  Ghost  craft,  A  Sixty 
Drop  Dose  of  Laudanum,  The  Three  Half -Crowns,  A  Ger- 
man Poet,  A  Treatise  on  a  Pair  of  Tongs,  My  Bugle  and 
how  I  blow  it.  An  Adventure  in  the  Shades,  The  Three 
Rings,  The  Story  of  the  Old  Wolf.  Only  the  third  of  these 
has  any  bearing  on  L'eland.  None  of  them  is  serious.  They 
are  mostly  whimsical  extravaganzas,  somewhat  in  t!  g 
manner  of  Poo.  There  is  an  interesting  essay  by  the 
editor,  and  an  exquisite  little  study  by  Lionel  Johnson. 

O'Hagan  (Lord).  Occasional  Papers  and  Addresses. 
Pp.400.   (Keegan,  Paul).  1884. 

Of  these  papers,  the  following  are  of  Irish  interest  : — The 
Study  of  Jurisprudence,  Roman,  English,  and  Celtic; 
O'Connell;  Moore;  Grattan;  Chas.  W.  Russell,  D.D.;  Legal, 
Educational,  and  Social  Reforms  in  Ireland;  Ireland  in 
1853 — Hopes  of  Progress;  A  Literary  Institute  in  Donegal 
and  its  Uses  (Letterkennv,  1871);"  The  Tralee  Election, 
1863. 

D'Esterre-Keeling  (Elsa).  In  Thoughtland  and 
Dreamland.  Pp.  300.    (Unwin).  1890. 

Contents  :— I.— Glints  through  the  London  fog.  IL— A 
Sea  Sketch.  III.— English  Country  Pictures.  IV.— A 
Quiet  Irish  Talk,  consisting  of  three  little  pieces,  the 
third  in  verse,  viz.— An  Unhappy  Island  in  the  West,  Was 
she  complainin',  and  Love  making  in  Paddy-land.  These, 
though  slight,  make  the  book  worth  including  because  of 
their  personal  and  unusual  point  of  view.  The  author  is 
Irish,  and  loves  Ireland.  Part  XII.  includes—"  The  Irish 
Vicar's  Exi3ericnces  of  '  The  People's  '  Powers  of  Speech." 
The  rest  is  made  up  of  "pictures,  tales,  and  talks," 
i'rench,  Scotch,  Swiss,  German  and  Russian.' 


16 


GUIDE  TO  BOOKS   ON  IRELAND. 


Daunt  (W.  J.  O'Neill).  Essays  on  Ireland.  (Gill).  5s. 
1889. 

Gathered  from  Duhlin  Revieiv,  Contemporary  Review,  etc. 
Contents  : — Ireland  under  the  Legislative  Union,  Ireland 
in  the  time  of  Swift,  How  the  Union  robs  Ireland,  The 
Irish  Difficulty,  Tithe  Eent-charge  in  Ireland,  Ireland  in 
the  time  of  Grattan,  History  and  Financial  Results  of 
Union,  the  Viceroyalty,  England  in  the  18th  Centirry,  the 
Disestablishment  of  the  State  Church.  The  author  was  a 
noted  political  writer  for  40  years  before  the  above  date. 

MoRAN  (Cardinal,  Archb.  of  Melbournej.  Occasional 
Papers.  Pp.  260.  (Browne  &■  Nolan).  2s.  6d. 
1890. 

Ten  articles  and  addresses.  The  following  are  of  Irish  in- 
terest : — "  The  Civilization  of  Ireland  before  the  Anglo- 
Norman  invasion;  "  Catholics  and  Irishmen"  (a  pane- 
gyric of  Ireland  and  of  Catholicism);"  "Ireland  and 
Australia."  Some  of  the  other  articles  are  ^^Iso  of  great 
interest,  notably,  "  The  Fruits  of  Self -Culture."  The  style 
is  quite  popular. 

Allingham  (William).  Varieties  in  Prose.  3  Vols. 
(Longmans).  Port,  of  Arthur.  1893.  Vol.  I. 
Rambles  in  Various  Parts  of  England.  Vol.  11. 
Rambles  in  Various  Parts  of  England,  Scotland, 
and  France.  Vol.  III.  consists  of  A.  Irish  Sketches 
(pp.  1-178) ;  B.  Six  Essays  (pp.  179-350) :  C.  Hop- 
good  &  Co.,  a  Play  (pp.  351-380). 

A.  contains — (1)  Seven  Hundred  Years  Ago — a  lucid  and 
vividly  presented  sketch  of  the  Norman  Conquest  and  the 
Ireland  of  the  time,  quite  Irish  in  sympathy.  (2)  An  Irish 
River  (The  Erne) — historical  associations  of  all  places  on 
its  banks — interesting  and  uncommon  information.  (3)  St. 
Patrick's  Day — the  story  of  St.  Patrick,  and  some  reflections 
on  how  his  feast  is  kept.  (4)  St.  Patrick's  Purgatory 
[1850] — the  impressions  of  a  Protestant — a  plain  and  honest 
account,  free  from  bias,  (o)  Irish  Ballad  Singers  and  Street 
Ballads.  (6)  The  Midsummer  Fire.  (7)  Geo.  Petrie— 
written  1866,  the  year  of  Petrie 's  death — an  eloquent 
tribute  by  a  personal  friend. 


PUOSK  LITERATURE. 


17 


O'Brien  (William,  M.P.).  Irish  Ideas.  Pp.  1G7.  Long- 
mans).  [1st  ed.,  1893;  2nd,  1895.] 

These  papers  "  were  first  read  to  audiences  of  young  Irish- 
men during  a  period  ranging  from  1885  to  1893  "  (Pref.). 
"  These  pages  may  help  outsiders  to  understand  that  the 
passion  of  Irish  Nationality  is  at  least  so  genuine  that  it  is 
of  more  importance  than  all  the  other  elements  of  the  Irish 
problem  put  together"  (Pref.).  Contents: — The  Irish 
National  Idea,  The  Lost  Opportunities  of  the  Irish  Gentry, 
A  Gem  of  Misgovernment  (Clare  Island),  The  Influence  of 
the  Irish  Language,  Are  the  Evicted  Tenants  Knaves? 
Toleration  in  the  Fight  for  Ireland  (an  appeal  to  all  sections 
to  unite).  The  Irish  Age  of  Gold,  The  Future  of  the  Young 
Men  of  Ireland.  A  book  of  permanent  value,  inasmuch  as 
it  deals  with  ideas.  Written  with  nerve  and  enthusiasm,  in 
picturesque  and  highly-coloured  style,  but  almost  without 
rant. 

Atkinson  (Sarah).  Essays.  Pp.  xxiv.  +  533.  (Gill.) 
1895.  Recently  republished  in  two  very  neat 
volumes. 

Introductory  memoir  by  Lady  Gilbert.  Subjects  :  Eugene 
O 'Curry,  St.  Brigid,  The  Geraldines,  Foley  the  Sculptor, 
St.  Fursey,  ^ngus  the  Culdee,  Hogan  the  Sculptor, 
Devorgilla,  Dermot  MacMurrough,  Irish  Wool  and  ^Yoollens, 
and  some  others  not  Irish.  Not  mere  newspaper  articles, 
but  serious  and  learned  studies,  showing  wide  reading,  and 
of  great  interest  and  value,  as  containing  much  information 
not  to  be  had  elsewhere  in  an  accessible  form.  The  driest 
subjects  are  made  interesting  by  the  enthusiasm  of  the 
writer. 

Lalor  (James  Fintan).  Writings  of.  Pp.  xxiv.  + 
124.  (Dublin:  T.  G.  O'Donoghue).  1895. 
Introduction,  embodying  personal  recollections,  by  John 
O'Leary,  the  Fenian  leader — and  a  brief  memoir.  Lalor 
was  an  Irish  revolutionary  of  the  extremest  type.  He  is 
claimed  as  the  pioneer  of  land-reform,  but  was  not  simply 
an  agrarian  agitator.  These  writings  (seven  short  papers 
in  all)  were  contributed  to  the  "  Nation,"  the  "  United 
Irishman,"  and  the  "  Felon,"  of  which  latter  he  was  editor. 
He  died  in  1849.  The  style  is  full  of  nervous  energy  and 
strength,  the  result  of  what  Gavan  Duffy  calls  "  the  con- 
centrated and  savage  earnestness  "  of  the  man.  Titles  : 
Tenants'  Right  and  Landlord  Law,  the  Faith  of  a  Felon, 
the  Rights  of  Labour,  etc. 

G 


18 


GUIDE  TO  BOOKS   ON  IRELAND. 


Flannery  (Thos.).  For  the  Tongue  of  the  Gael :  Essaj's 
on  Irish  Gaelic  Subjects.  Pp.  187.  (Seal}^  Bryers). 
Is.  [1st  ed.,  1896.]  New  and  enlarged  edition, 
1908. 

Essay  I.  sets  forth  the  scope  and  objects  of  the  Gaelic 
Journal.  II.,  Warns  us  against  the  ignis  fatuus  of  "A 
Superior  English  Education."  VI.,  On  Celtic  (Irish  and 
Welsh)  Surnames;  very  interesting.  XII.,  Dialects  of  Irish. 
Other  essays  are  suggested  by  various  books,  such  as  the 
Youthful  Exploits  of  Finn,  On  Irish  Dictionaries,  On  the 
Poets  of  Ireland  (D.  J.  O'Donohoe's  book).  On  Mediaeval 
Irish  Tales  (Silva  Gadelica,  by  S.  H.  O'Grady).  A  Real 
Irish  Poet  (viz.,  Douglas  Hyde) — The  Love  Songs  of  Con- 
nacht.    The  book  is  soaked  with  Gaelic  lore. 

Eglinton  (John)  "  [i.e.,  William  K.  Magee].  Pebbles 
from  a  Brook.  Pp.  115.  Published  at  Kilkenny 
by  Standish  O'Gradv,  and  at  32  Dawson  Cham- 
bers, Dublin.  1901.*^ 

Essays  on — (1)  Knowledge.  (2)  Heroic  Literature.  (3) 
Apostolic  Succession.  (4)  Saeclorum  nascitur  ordo.  (5) 
Regenerate  Patriotism.  (6)  The  Three  Qualities  in  Poetry. 
(7)  Optimism  and  Pessimism.  2  includes  Irish  heroic 
literature.  Only  this  and  5  (a  remarkable  piece  of  writing) 
are  of  specially  Irish  interest.  These  essays  are  exception- 
ally thoughtful  and  suggestive,  but  rather  annoyingly  elusive 
and  inconclusive.  There  is  an  occasional  note  of  hostility 
to  religion. 

Gregory  (Lady),  ed.  Ideals  in  Ireland.  Pp.  107. 
(London  :  At  the  Unicorn).  1901. 
A  very  precious  little  volume.  Aims  "  to  show  to  those 
who  look  beyond  politics  and  horses,  in  what  direction 
thought  is  moving  in  Ireland  "  (Pref.).  Essays  by  "  A.E." 
on  Nationality  v.  Imperialism,  by  D.  P.  Moran  on  the 
Battle  of  Two  Civilizations,  viz.,  Irish  v.  English  (both  of 
these  very  striking  essays),  by  George  Moore  on  Literature 
and  the  Irish  Language,  by  Douglas  Hyde  on  What  Ireland 
is  asking  for  (viz.,  an  Irish  education)  and  on  The  Return 
of  the  Fenians  (what  the  language  movement  will  do  for 
Ireland),  by  Standish  O'Grady  on  the  Failure  of  Ireland  to 
take  advantage  of  the  Over-Taxation  Question,  and  by 
W.  B.  Yeats  on  the  Literary  Movement  in  Ireland.  All  the 
essays  are  notable  for  their  literary  qualities  as  well  as  for 
their  thought. 


PROSE  LITERATURE. 


19 


Eglinton  (John)."  Bards  and  Saints.  Pp.  55. 
(Maunsel  &  Co.).  Is.  Tower  Press  Booklets. 
No.  6.    Pub.  190G. 

This  little  book  consists  of  four  scholarly  essay's  on  Irish 
literary  subjects,  besides  a  preface  in  which  the  author 
raises  some  disputable  points  about  the  Irish  language. 
Interesting,  and  showing  a  wide  knowledge  of  litejature, 
foreign  as  well  as  Irish,  but  it  is  curious  to  note  that  Mr.  E. 
is  quite  averse  to  the  language  movement,  and  this  not 
"  from  the  standpoint  of  mere  utility,"  of  which  we  hear 
so  much,  but  from  a  purely  literary  point  of  view. 

Yeats  (W.  B.)  :  Ideas  of  Good  and  Evil.  Pp.  341. 
(Maunsel).    3s.  net.    [1903.]    2nd  ed.,  1905. 

A  book  of  importance,  as  setting  forth  the  literary  beliefs 
and  ideals  of  Mr.  Yeats.  Something  of  these  is  to  be 
gathered  from  nearly  all  the  essays  in  the  book,  but  they  are 
expressly  set  forth  in  "  What  is  Popular  Poetry?  ",  "  The 
SymboHsm  of  Poetry,"  "  The  Theatre,"  "  The  Celtic  Ele- 
ment in  Literature,"  "  The  Autumn  of  the  Body."  Mr. 
Yeats  is  a  "  mystic  "  and  a  believer  in  the  "  black  art  " 
(c/.  essay  on  "  Magic  ").  In  literature  he  is  a  symbohst. 
See  note  on  his  poetry.  The  little  essay  "  Ireland  and  the 
Arts  "  differs  almost  wholly  from  the  rest.  It  exhorts 
Irishmen  to  draw  the  inspiration  of  their  arts  from  two 
great  sources — Keligion  and  Patriotism.  Mr.  Yeats'  prose 
is,  like  his  poetry,  delicate,  meditative,  and  subtly  wrought, 
with  a  curious  soothing  charm  in  it.  It  is  never  discon- 
nected nor  confused,  but  is  often  obscure  from  the  very 
cloudiness  of  the  thoughts,  dreams,  or  sensations  to  which 
it  endeavours  to  give  expression. 

Yeats  (W.  B.).  Discoveries.  Pp.  43.  (Dun  Emer 
Press,  Dundrum).  7s.  6d.  Only  200  printed. 
1907. 

Reprinted  from  The  Shanachie,  an  illustrated  Irish  miscel- 
lany. Little  essays  or  fragments  of  essays,  21  in  all,  of 
an  intimate,  unconventional,  subjective  type,  giving  Mr. 
Yeats'  mind  on  aspects  of  art  and  literature.  Subjects  :— 
Prophet,  Priest,  and  King;  Personality  and  the  Intellectual 
Essences;  The  Musician  and  the  Orator;  The  Tree  of  Life; 
Two  Kinds  of  Asceticism;  Religious  Belief  Necessary  to 
Symbolic  Art;  The  Holy  Places,  etc.,  etc. 


20 


GUIDE  TO  BOOKS   ON  IRELAND. 


Victory  (Louis  H.).     Essays  for  Ireland.     Pp.  84. 
(Sealy,  Bryers).  Is. 

A  tiny  volume  of  short  essa^-s,  marked  by  grace  and  culture, 
on  such  subjects  as  Davis's  Essays^^  Irwin's  and  Seumas 
MacManus's  Poems,  Symbolism,  The  Language  Question, 
Irish  Women's  Suffrage  (14  in  all). 

GoDDARD    (Ethel).     Dreams  for  Ireland.      Pp.  89. 
(Hodges,  Figgis).    2s.  Gd.  1903. 

An  appeal  in  poetic,  fervid,  emotional  language  for  a 
revival  of  the  ancient,  primal  Gaelic  spirit.  "  This  book," 
says  Fiona  MacLeod,  in  The  Winged  Destiny,  "is  uplifted 
with  a  radiant  hope  and  with  an  ecstasy  of  spiritual  con- 
viction that  make  the  heart  young  to  contemplate." 

''A,  E.''  (i.e.,  G.  W.  Russell).       Some  Irish  Essays. 
Pp.  39.    (Maunsel :  Tower  Press  Booklets).  190G. 

Viz.  : — Nationality  and  Cosmopolitanism  in  Art;  The 
Dramatic  Treatment  of  Heroic  Literature;  On  an  Irish 
Hill-,  The  Poet  of  Shadows  (W.  B.  Yeats).  Thoughtful, 
suggestive,  and  refined — a  poet's  prose.  Truly  Irish  in 
point  of  view.  Other  essays  by  this  writer  will  be  found 
in  Lady  Gregory's  volume,  Ideals  in  Ireland. 

Sheehan  (Canon).  Early  Essays  and  Lectures.  Pp.364. 
(Longmans).     6s.  1906. 

Contents  : — Essays,  I.  Eeligious  Instruction  in  Intermediate 
Schools.  II.  In  a  Dublin  Art  Gallery.  III.  Emerson.  IV. 
Free  Thought  in  America.  V.,  VI.,  VII.  The  German 
Universities.  VIII.  The  German  and  Gallic  Muses.  IX. 
Kecent  Augustinian  Literature.  X.  Poetry  of  Matthew 
Arnold.  XI.  Kecent  works  on  St.  Augustine.  XII.  Aubrey 
de  Vere.  Lectures,  I.  Irish  Youth  and  High  Ideals.  II. 
The  Two  Civilisations.  III.  The  Fiftieth  Anniversary  of 
O'Connell's  Death.  IV.  Our  Personal  and  Social  Responsi- 
bilities. V.  Study  of  Mental  Science.  VI.  Certain  Elements 
of  Character.  VII.  Catholic  Literature. 
Of  the  Essays  dealing  with  Irish  subjects,  I.  contains  some 
of  the  author's  view^s  on  Irish  Education;  II.  is  a  discourse 
on  the  meaning  and  purpose  of  art  in  general;  XII.  deals 
wdth  de  Vere's  Mediaeval  Legends.  Of  the  Lectures,  I.  is  an 
appeal  to  young  Irishmen  to  educate  themselves;  III.,  A 
panegyric  on  O'Connell's  life  and  work,  contains  author's 


PROSE  LITERATURE. 


21 


^^•ishcs  for  the  future  of  Ireland;  IV.,  An  exhortation  to 
Young  Irishmen  to  make  themselv.es  worthy  of  a  great  future 
for  Ireland.  Full  of  love  of  country.  These  essays,  etc., 
are  written  in  a  language  of  great  culture,  beauty  and 
eloquence,  rich  with  allusion  and  illustration  from  very  wide 
reading.    The  earliest  date  given  for  any  of  them  is  1880. 

Clery  (Arthur  E.,  B.L.,     Chanel  ").     The  Idea  of  a 
Nation.    Pp.  76.     (Duffy).    6d.  1907. 

Tv/enty-two  short  articles  reprinted  from  "  The  Leader." 
They  deal  with  Irish  Nationality  in  its  theory  and  in  its 
practical  applications.  They  are  marked  by  eminently  sane 
thought,  conveyed  in  a  style  light,  pointed,  and  humorous. 
The  author  views  the  questions  he  treats  from  a  distinctly 
original  standpoint. 

Lecky  (W.  E.  H.).     Historical  and  Political  Essavs. 
Pp.  324.     (Longmans).     10s.  6d.  net.  1908. 

Contains  one  essay  of  Irish  interest,  "  Ireland  in  the  Light 
of  History  "  (pp.  68-89),  a  review  of  Irish  political  history, 
concluding  that,  "  in  the  existing  condition  of  Ireland,  no 
Parliament  could  be  established  there  which  could  be 
trusted  to  fulfil  the  most  elementary  conditions  of  honest 
government." 

Lynd  (Rofort).    Irish  and  English  :  Portraits  and  Im- 
pressions.    (London:  Griffiths).     5s.  1908. 

Cf.  '*  Home  lAfe  in  Ireland."  Contents  :  Irish — On  an  Emi- 
grant Train.  The  Orange  Idealist,  Hibernia  Rediviva,  Riots, 
Myles  the  Slasher,  etc.,  15  in  all,  with  20  English  sketches. 
Observations  on  men  and  manners  by  a  joyous  Bohemian, 
characterised,  especially  in  the  sketches  of the  poor,  by  a 
kindly,  observant  sympathy,  a  pleasant,  light  style  and 
much  humour.  Aspects  of  the  Sinn  Fein  and  Gaelic  move- 
ments are  sympathetically  treated.  The  folly  of  keeping  up 
the  bitter  partisan  spirit  between  Catholic  ''and  Protestant 
in  tlie  North  is  illustrated,  but  without  preaching  or 
morahsing.    The  writer  is  a  Presbyterian  Ulsterman. 


Tealy  (Most  Revd.  Dr.).      Papers  and  Addresses. 
Pp.  549.     (C.  T.  S.  L).     Gs.  1908. 

Contents  :—(l)  The  Cistercians  in  Ireland;  (2)  Annals  of 
Locli  Ce;  (8)  Priest  in  Politics;  (4)  Gerald  Barry;  (5)  Was 


22 


GUIDE  TO  BOOKS   ON  IRELAND. 


St.  Cuthbert  an  Irishman?;  (6)  Co.  Galway  Archaeology; 
(7)  Writings  of  Card.  Cnllen;  (8)  John  Duns  Scotus;  (9) 
Book  of  Deer;  (10)  Archbishops  of  Canterbury  and  Early 
Irish  Church;  (11)  An  Island  Shrine  in  the  West;  (12)  The 
Stowe  Missal;  (13)  University  Education  in  Ireland;  (14) 
St.  Livinus;  (15)  Early  National  Synods  in  Ireland;  (16) 
Ireland  and  Rome ;  (17)  History  of  Sligo  Town  and  County ; 
(18)  Speech  on  Edmund  Burke;  (19)  A  Family  of  Famous 
Celtic  Scholars  (MacFirbis) ;  (20)  The  Historians  of  Ossory ; 
(21)  A  Pilgrimage  to  Innismurray;  (22)  Patrician  Pilgrim- 
ages in  Ireland;  (23)  Old  Irish  Romanesque  Architecture; 
(24)  Western  Archgeology.  The  rest  are  purely  ecclesias- 
tical and  non-Irish  in  subject.  The  treatment  of  the 
various  subjects  dealt  with  is  popular  and  interesting  rather 
than  erudite  or  exhaustive. 

Healy  (Most  Rev.  Dr.,  Archb.  of  Tiiam).  Irish  Essays. 
Pp.  125.  (Catholic  Truth  Society  of  Irelan'd). 
111.  by  22  photos.  1908. 

Subjects: — The  Four  Masters;  Tara,  Pagan  and  Christian; 
Irish  Graves  in  Rome;  Holy  Wells  of  Ireland;  Round 
Towers;  St.  Patrick  in  the  Far  West;  Two  Royal  Abbeys 
on  the  Western  Lakes;  Grania  Uaile.  All  popularly  and 
interestingly  treated 

Butler  (Lieut.-Gen.  Sir  William,  G.C.B.).  The  Light 
of  the  West.    Pp.  246.     (Gill).    5s.  1909. 

Nine  essavs  and  addresses,  viz.  : — (1)  The  Light  of  the 
West  (1880),  a  study  of  the  life  and  work  of  St.  Patrick. 
(2)  Napoleon  and  St.  Helena  (1908),  in  which  the  author, 
after  more  than  40  years'  study,  concludes  that  the  object 
sought  by  English  Ministers  in  1815  was  not  the  exile 
but  the  speedy  death  of  Napoleon.  Contains  wonderfully 
vivid  pen  picture  of  the  island.  The  author  has  a  strong 
admiration  for  Napoleon.  (3)  Parnell  (1908).  (4)  Gordon 
(1907)  (whose  life  Sir  W.  Batler  has  written).  (5)  They 
were  a  great  people,  sir  (1881),  dealing,  in  an  entirely 
fresh  way,  with  the  land  question,  class  questions  and 
depopulation  in  Ireland.  (6)  The  Clan  and  the  Boat's 
Crew  (1907).  A  comparison  of  English  and  Irish  ideals 
and  characteristics.  (7)  A  ramble  through  Belgian  battle- 
fields (1865).  (8)  At  ]\Iungret  (1907)  relates  the  author's 
experiences  of  Catholic  foreign  missionaries.  (9)  At  Water- 
ford  (1^08) — Irish  economic  pi'oblem^. 


PROSE  LITERATURE. 


23 


The  author  is  well  known  by  his  other  works — The  Great 
Lone  Land,  Bed  Cloud,  From  Naboth's  Vineyard,  Life  of 
Sir  G.  P.  CoUey,  etc.  He  is  intensely  Irish  in  sympathy, 
feailess  and  outspoken  on  the  side  of  the  poor,  and  of 
oppressed  and  backward  peoples,  as  against  ascendencies 
and  tyrannies  of  all  kinds.  It  has  been  well  said  of  this 
book  that  it  is  the  work  of  "  a  strong  man  writing  about 
strong  men  and  writing  strongly."  It  is  full  of  strikingly 
original  and  unconventional  views  set  forth  in  a  style  full 
of  rush  and  energy,  "  ose,"  picturesque,  never  heavy  or 
dull,  abounding  in  epigram  and  in  unexpected  turns  of 
thought. 

Falkiner  (C.  Litton).  Essays  Relating  to  Ireland. 
Pp.  249.     (Longmans).    '9s.  net.  1909. 

Memoir  of  the  author  by  Edward  Dowden,  LL.D.  The 
essays  are  biographical,  historical  and  topographical.  Most 
of  them  appeared  originally  in  the  Edinburgh  Review.  The 
author  was  a  Dublin  barrister  and  Unionist  politician  who, 
in  1908,  became  a  member  of  the  Land  Commission.  He 
edited  the  Ormonde  papers  in  5  vols,  (a  sixth  is  in  the 
Press).  Died,  1908.  Subjects  :  (1)  Spenser  in  Ireland.  (2) 
Sir  John  Davis  (Irish  Attorney-Gen.  at  time  of  Plantation 
of  Ulster).  (3)  An  Illustrious  Cavalier  (James  Butler, 
12th  Earl  and  1st  Duke  of  Ormond).  (5)  Robert  Emmet. 
(6)  Archbishop  Stone  (Protestant  Primate  in  Ireland  during 
reign  of  George  II.).  (7,  etc.)  Short  histories  of  Dublin, 
Youghal,  Kilkenny,  Drogheda,  Armagh  and  Galway.  A 
consideration  of  Irish  Parliamentary  History,  with  com- 
plete list  of  Speakers  of  the  Irish  House  of  Commons,  and 
many  other  valuable  details.  The  essays  are  marked  by 
painstaking  and  conscientious  research. 

Mac.  Character  Sketches.  (Simpkin\  5s.  net. 
1909. 

GwYNN  (Stephen),  M.P.  Charlotte  Grace  O'Brien  and 
her  Writings.  Pp.  232.  (Maunsel).  3s.  Gd. 
1909. 

First  half  of  vol.  occupied  by  memoir.  Contains  about 
70  of  her  poems,  a  few  essays,  including  The  Shannon, 
Shanid  Castle,  and  A  Jog,  Jog  Journey  from  Dublin  to 
Limicrick,  and  some  letters.  They  are  not  of  high  literary 
value,  but  they  reveal  a  noble  and  unselfish,  if  eccentric, 
personality.  Several  of  the  poems  are  of  Irish  interest, 
including  several  on  the  Shannon,  but  they  deal  chiefly 
with  little  home  scenes  and  interests. 


24 


GUIDE  TO  BOOKS   ON  IRELAND. 


RooNEY  (William).      The  Prose  \York  of.  (Gill). 
Is.  6d.  1909. 

A  selection  by  Seumas  IMacmanus  of  the  best  work  of  a 
young  pioneer  of  the  Gaelic  Revival  of  an  exceptionally 
admirable  and  amiable  character,  sincere,  intensely  enthu- 
siastic, yet  tolerant.  He  had  read  almost  everything  that 
was  available  in  English  about  the  country,  and  nothing 
that  was  published  in  Irish  escaped  him.  Hence  these 
13  essays  are  full  of  knowledge  of  every  period  of  Irish 
history,  literary,  industrial,  and  political.  Subjects  :  (1) 
The  Primary  School  System.   (2)  A  Recent  Irish  Literature. 

(3)  The  Limitations  of  the  Language  IMovement.  (4)  Irish 
Topography.  (5)  Gaelicism  in  Practise  (an  epitome  of 
Ireland's  social,  industrial,  and  political  history,  and  pro- 
bably the  author's  best  piece  of  work  in  prose).  (6)  Our 
Songs  and  Songsters.  (7)  Development  of  the  national 
idea.  (8)  Emigration,  and  how  to  stay  it.  (9)  (3ur  native 
Parliament.  (10)  The  importance  of  being  in  earnest.  (11) 
Athletics.    (12)  An  Alternative  Policy  (viz.,  Sinn  Fein). 

Kettle  (Prof.  T.  M.).  The  Day's  Burden.  Pp.  178. 
12nio.     (Maunsel).    2s.  6d.  net.  1910. 

Contents  : — (1)  The  Philosophy  of  Politics.  (2)  On  Crossing 
the   Irish   Sea.    (3)  Otto   Effertz,  Gentleman  Socialist. 

(4)  On  Written  Constitutions.  (5)  Body  v.  Soul.  (6) 
Reveries  of  Assize.  (7)  A  New  Wav  of  Misunderstanding 
Hamlet.  (8)  Young  Egypt.  (9)  Tlie  Faticrue  of  Anatole 
France.  (10)  International  Socialists.  (11)  A  French- 
man's Ireland.  (12)  Reason  in  Rhyme.  (13)  On  Saying 
Good-bye.  The  style  is  torse,  pointed,  cften  epigrammatic. 
Many  of  the  essays  are  trifles,  all  are  treated  lightly,  and 
often  with  a  certain  ironic  humour,  but  not  flippantly. 
In  all  there  is  a  decidedly  original  point  of  view  and  much 
that  is  suggestive. 

Joyce  (P.  W.),  LL.D.,  T.C.D.,  M.E.I.A.  The  Wonders 
of  Ireland.  Pp.  242.  (Gill),  2s.  Gd.  Portrait 
of  Author.  1911. 

In  subsequent  sections  will  be  found  notices  of  many 
important  works  by  this  author.  Contents  of  above  : — 
I. — A  series  of  36  short  pieces,  giving  title  to  book, 
and  consisting  of  ancient  tales  of  marvels  said  to  have 
taken  place  at  various  periods  in  Ireland,  as  related  in  the 
Book  of  Ballymote  and  other  Gaelic  MSS.,  and  the  Konf^s 
Skiiggio   (Speculum   Regale)   written  in  Norse   in  3250. 


PROSE  LITERATURE. 


25 


They  are  given  in  Mr.  Joyce's  own  words,  often  with  an 
explanaixDry  remark.  II.— Talcs,  such  as  Fergus  O'Mara 
and  the  Demons.  III. — Historical  Pieces,  such  as  Cathal 
0 'Conor,  Sir  John  de  Courcy,  etc.  IV.— Essay  on  the 
Irish  rivers  mentioned  in  Spenser's  Faerie  Queen.  V. — 
Our  Three  Patron  Saints  (short  lives  of  Sts'.  Patrick, 
Brigid,  and  Columbkille).  VI. — On  the  Interpretation  of 
Irish  Names  of  Places.  All  the  pieces  are  simple  and 
popular,  both  in  style  and  treatment,  but  drawn  from  a 
very  well  stored  mind. 

Shaw  (James  Johnston),  K.C.  Occasional  Papers. 
Pp.  liv.  ±  451.  (Hodges,  Figgis).  7s.  Gd.  Por- 
trait. 1910. 

Judge  Shaw  was  Prof,  at  Magee  Coll.,  Derrv  (1869-78), 
Prof,  of  Polit.  Economy,  T.C.D.  (1877-82),  Recorder  of 
Belfast  (1909-10).  This  book  is  ed.,  with  biographical 
introd.,  by  his  daughter,  Mrs.  Margaret  L.  Woods.  The 
subjects  dealt  with  relate  mainly  to  Polit.  Economy  and 
Finance  {e.g.,  Free  Trade)  with  a  few  literary  studies.  Of 
Irish  interest  are  : — Gladstone's  Two  Irish  Policies,  1868, 
1886  (Unionist  in  point  of  view),  The  Humours  of  an  Irish 
County  Court  (The  author  was  C.C.J. ,  of  Co.  CJare). 

MouNTJOY  (Desmond)."  i.e.,  W.      Chapman  Houston. 
A  Creel  of  Peat.     (The  Adelphi  Press).  1910. 

A  collection  of  essays.  "  Whom  the  Gods  Love  "  is  an 
appreciation  of  the  young  northern  poet  T.  E.  Mayne. 
"  Helen's  Tower  "  is  a  tribute  to  the  late  Lord  Dufferin. 
Another  is  about  Mrs.  Craigie  (John  Oliver  Hobbes). 

GwYNN  (Stephen),  M.P.  To-day  and  To-morrow  in 
Ireland.  Pp.  xix.  and  223.  CHodges  &  Figgis"). 
1903. 

Essays  dealing  with  "  the  influences,  material,  intellectual 
and  spiritual,  which  are  to-day  at  work  in  Ireland  "  (Pref.) 
written  in  a  Nationalist  spirit,  with  an  Introduction  setting 
forth  the  author's  views  on  the  question  of  Home  Rule 
and  on  the  Irish  landlord  class.  "  The  object  of  this  book 
is  to  induce  people  in  Ireland  to  think  of  what  is  being 
done,  what  can  be  done,  in  Ireland  for  Ireland  "  (Pref.). 
Pp.  1-96  tell  of  the  Gaelic  Revival,  especially  of  the  litera- 
ture it  is  producing.  The  essay,  "  The  Secret  of  Ireland," 
treats  the  religious  question  in  a  sympathetic  and  open^ 


26 


GUIDE  TO  BOOKS   ON  IRELAND. 


minded  spirit.  Pp.  158  to  the  end  treat  of  the  Industrial 
Kevival  and  the  work  of  the  Congested  Districts  Board. 
All  the  essays  have  a  literary  flavour. 

Johnson    (Lionel).     Essays    and   Critical  Papers. 
(ElkinMathew-s).  19i2. 

Edited  by  Thomas  Whittemore.  Among  other  things  of 
Irish  interest,  contains  a  critical  paper  on  Barry  O'Brien's 
"  Life  of  Parnell  "  and  an  essay  on  Mangan. 


C. — Speeches. 

Burke.  Speeches  of  the  Right  Hon.  Edmund  Burke. 
Edited  by  James  Burke,  A.B.  One  Volume. 
(1729-1797).  Pp.  xxiv.  +  456.  (Duffy).  2s. 
1st  ed.,  1853,  still  in  print. 

"  I  have  placed  no  speech  in  this  volume  of  the  authen- 
ticity of  which  I  had  not  obtained  clear  evidence  "  (Pref.). 
Memoir,  pp.  vii.  +  xxiv.  Historical  introductions  to  each 
speech  (brief).  Contents  : — Speeches  on  the  Quarrel  with 
the  (then)  British  Colonies  of  North  America,  On  Indian 
Questions,  Speeches  at  Bristol,  On  Economic  and  Ecclesias- 
tical Reform,  On  Toleration,  On  the  French  Revolution, 
Impeachment  of  Warren  Hastings  (selections).  Selections 
from  Pamphlet  on  the  French  Revolution,  and  from  the 
"  Letter  to  a  Noble  Lord."  Of  the  Irish  orators  Burke 
alone  is  a  permanent  world  classic.  In  him  there  is  un- 
failing sublimity  of  principle  and  breadth  of  philosophic 
thought  set  forth  in  stately,  and  magnificently  figurative 
language. 

Wilson  (C.  H.).  The  Beauties  of  Edmund  Burke. 
2  vols.    (London).  1798. 

With  a  sketch  of  his  life. 
Flood. 

Of  the  speeches  of  Henry  Flood  (1732-1791),  Grattan's 

great  rival,  and,  perhaps,  scarcely  his  inferior,  no  satis- 
factory edition  exists,  though  a  lew  of  them  are  to  be 
found  scattered  through  the  pages  of  Warden  Flood's 
biography  of  the  orator.  Lecky  says  in  his  "  Leaders  of 
Public  Opinion  in  Ireland," — "  A  few  pages  of  oratory, 
which  probably  at  best  only  represent  the  substance  of  his 
speeches,  a  few  youthful  poems,  a  few  laboured  letters. 


PROSE  LITERATURE. 


27 


and  a  biography  so  meagre  and  unsatisfactory  that  it 
scarcely  gives  us  any  insight  into  his  character,  are  all 
that  remain  of  Henry  Flood." 

Sheridan.    (1751-1816).    Speeches.    4  vols. 

Edited  by  "  A  Constitutional  Friend."  First  published, 
1816,  afterwards  re-issued  in  the  Bohn  Library  in  3  vols. 
Contains  every  speech  the  editor  could  collect,  including 
subjects  of  the  most  trifling  nature.  Given  m  strict 
chronological  order.  In  the  first  3  vols,  there  is  only  one 
speech  concerning  Ireland.  In  vol.  4  are  contained  the 
speeches  on  the  Union.  The  Dictionary  of  National 
Biography  says  of  him  : — "  As  an  orator  he  impressed  the 
House  of  Commons  more  deeply  than  almost  any  pre- 
decessor, and  as  a  politician  in  a  venal  age  he  preserved 
his  independence  and  purity."  He  always  supported 
Grattan's  party  in  their  efforts  in  Ireland,  strenuously 
opposed  the  Union,  and  worked  for  Catholic  Emancipation. 
Burke  described  his  great  speech  against  Warren  Hastings 
(never,  unhappily,  properly  reported)  as  "  the  most' 
astonishing  effort  of  eloquence,  argument,  and  wit  united 
of  which  there  was  any  record  or  tradition."  Pitt  said 
that  it  surpassed  all  the  eloquence  of  ancient  or  modern 
times,  and  Fox  gave  it  praise  no  less  unstinted.  Moore, 
his  biographer,  says  of  his  eloquence  in  general,  "  Good 
sense  and  wit  were  the  great  weapons  of  his  oratory — 
shrewdness  in  detecting  the  weak  points  of  an  adversary, 
and  infinite  powers  of  raillery  in  exposing  them."  There 
is  an  edition  of  his  complete  works  bv  F.  Stamfortli. 
See  p.  9. 

CuRRAN.  (1750-1817).  Speeches  of.  Ed.,  with 
Memoirs  and  Historical  Notice,  bv  Thomas  Davis. 
(Duffy).  2s.  xxxiv.,  38-471  pp.  12s.  1st  ed., 
1845 ;  many  since. 

The  first  satisfactory  edition  (still  in  print).  Contains  68 
speeches  (39  not  in  any  former  edition)  with  connecting 
notices  giving  state  of  politics  connected  with  question 
treated  in  political  speeches,  together  with  the  progress 
and  result  of  the  debate.  Prefixed  to  legal  speeches  are 
the  facts  of  the  case  and  often  short  biographies  of 
Curran's  clients.  Great  attention  has  been  paid  to  fixing 
precise  dates.  Memoir  of  Curran,  pp.  XI.-XXXIV., 
written  with  Davis'  wonted  fervour  and  eloquence.  All 
the  poHtical  speeches  included  were  delivered  in  the  Irfs-! 


28 


GUIDE  TO  BOOKS   ON  IRELAND. 


House  of  Commons.  They  deal  with  a  great  variety  of 
subjects,  e.g.,  Two  on  Catholic  Emancipation,  "  On  the 
State  of  the  Nation,"  "  On  Hoche's  Expedition."  The 
last  speech  was  in  1797.  Of  the  legal  speeches  many  are 
defences  of  men  accused  of  High  Treason  (e.r/.,  Oliver 
Bond,  Henry  Sheares,  Napper  Tandy,  etc.).  Curran  is 
"  varied,  abounding  and  irregular;  iridescent  with  humour 
and  fun,  melting  in  pathos,  full  of  tenderness,  delicacy 
and  fire;  copious  in  invective  and  exuberant  in  imagery." 
Burke  called  him  "  the  greatest  advocate  that  ever  lived." 
"  I  heard  him  speak  more  poetry  than  I  have  ever  seen 
written,"  said  Byron. 

Grattan  (1746-1820).  Speeches.  Edited  bv  D.  0. 
Madden.  Pp.  xxxvi.  +  468.  (Duffy).  '2s.  1st 
ed.  still  in  print. 

Memoir,  pp.  VII. -XXXVI.  The  speeches  range  from  1780 
to  1819.  The  speeches  are  mainly  Vindications  of  Irish 
political  independence,  condemnations  of  Governmental 
corruption,  speeches  against  the  Union.  All  the  speeches 
(except  two)  from  1805  on  are  in  favour  of  Catholic 
Emancipation  (pp.  286  end).  To  his  last  breath  Grattan 
spent  himself  in  the  cause  of  Ireland  and  of  the  Catholics. 
There  are  also  the  famous  invectives  against  Flood  and 
against  Corry,  and  the  speech  on  the  fall  of  Napoleon. 
Short  introductions  are  prefixed  to  each  speech  and  dates 
a^'e  given  in  all  cases.  Davis  says  : — "  No  other  orator  is 
so  uniformly  animated  ...  no  other  writer  in  the 
language,  except  Shakespeare,  has  so  sublime  and  sugges- 
tive a  diction.  His  force  and  vehemence,  liis  rush  and 
splendour,  are  amazing." 

Plunket  (1746-1820).  Speeches.  Ed.  by  John  Cashel 
Hoey.  Pp.  xxiv.  +  480.  (Dnffyj.*  2s.  1st  ed., 
1855 ;  still  in  print. 

First  collection  of  Plunket 's  speeches.  The  editor  was  at 
great  pains  to  get  the  authentic  version*?,  and  believes 
him.self  to  have  been  successful.  "  At  least  a  dozen  of 
[the  speeches  included]  fully  sustain  his  fame  "  (Preface). 
Memoir,  pp.  iii-xxiv.  Long  and  carefully-written  intro- 
ductory and  connecting  notices  before  each  speech.  The 
latter  cover  the  period  1798-1841.  They  include  6  against 
the  Union,  9  or  10  on  Catholic  Grievances  (he  was  in 
favour  of  Emancipation  but  against  dis-establishment),  the 


PROSE  LITERATURE. 


29 


indictment  of  Robert  Emmet  and  his  "  atrocious  con- 
spiracy." "  The  force  of  Plunket's  speeches  consists  not 
only  in  their  vigorous  volume  or  argument  and  stately 
height  of  rhetoric,  but  that  they  deal  closely,  practically, 
and  intimately  with  the  things  and  the  men  about  him." 
lie  has  been  spoken  of  as  "  the  orator  of  colossal  logic, 
always  great,  massive,  and  impressive." 

Plunket  (The  Hon.  David).  The  Life,  Letters,  and 
Speeches  of  Lord  Plunket.  2  vols.  Pp.  409  + 
380.    (Smith  Elder).  1867. 

In  this  work  the  letters  and  speeches  arc  interwoven  with 
the  text  of  the  life.  The  speeches  included  "  have,  with 
very  few  exceptions,  reference  to  two  political  questions — 
those,  namely,  of  the  Legislative  Union  of  1800,  and  of 
the  Catholic  Emancipation  "  (Preface).  The  life  is  fair 
and  imparial  in  tone.  Preface  by  Lord  Brougham  (himself 
a  great  orator),  in  which  he  speaks  of  Plunket's  eloquence 
in  the  highest  terms  and  praises  the  unswerving  consis- 
tency of  his  principles.  The  author  is  grandson  of  Lord 
Pluriket. 

CoNNELL.  (1775-1840).  1.  The  Life  and  Speeches 
of  Daniel  O'Connell.  Ed.  by  his  son,  John  O'Con- 
nell.  2  vols,  of  560  pp.  each.  Demy  8vo.  (Duffy). 
1846. 

The  speeches  are  given  in  extenso  in  the  course  of  the 
narrative. 

—  2.  Select  Speeches.  Edited  by  his  son,  John 
O'Connell.  2  vols.  Pp.  456  +  472.  (Duffy). 
4s.    [1st  ed.,  1855];  in  print. 

Speeches  at  the  bar,  at  meetings,  dinners,  etc.,  and  letters, 
many  of  them  of  little  interest  now.  Introductory  his- 
torical notices.  The  first  speech  is  dated  January,"  1808, 
the  last,  January,  1825.  This  is,  perhaps,  the  less  impor- 
tant period  of  O'Connell's  career,  but  it  includes  the 
struggle  over  the  Veto  question  and  the  beginnings  of 
formidable  organisation  among  Catholics.  It  is  largely 
taken  up  with  intestine  warfare.  The  chief  burden  of  the 
speeches  is  Catholic  rights  with  much  about  conciHation 
and  tolerance  between  the  creeds,  denunciation  of  cor- 
ruption, of  Orangism  and  Ribbonism  and  bigotry.  Rather 
a  collection  than  a  selection.  N.B. — 4  is  really  the  same 
as  2. 


30 


GUIDE  TO  BOOKS   ON  IRELAND. 


3.  CusACK  (M.  F.).  The  Speeches  and  Public  Letters 
of  the  Liberator.  2  vols.  Pp.  xxxvi.  +  651  + 
B70.    (McGlashan  &  Gill).  1875. 

Preface  and  Historical  Notes  giving  context.  No  index 
nor  table  of  contents.  This  is  the  only  edition  that  gives 
speeches  later  than  1825. 

 4.  The  Centenary  Edition  of  O'Connell's  Select 

Speeches.  2  vols,  in  one.  (Duffy).  3s.  6d. 
[1875] ;  still  in  print. 

General  Note. — O'C.'s  speeches,  as  spoken,  gained  more 
than  those  of  perhaps  any  other  Irish  orator,  from  qualities 
independent  of  literary  style.  Thus,  when  transferred  to 
print,  their  loss  is  greater.  Gavan  Duffy,  in  "  Young  Ire- 
land," thus  describes  him  :  "  The  mobile  face,  gleaming 
with  humour  or  blazing  in  wrath,  the  well-set  head  and 
iron  jaw,  the  towering  figure  and  voice  of  leonine  compass, 
but  capable  of  all  modulations  in  the  gamut  of  passion  or 
persuasion,  furnished  a  picture  never  to  be  forgotten." 
Yet,  even  as  printed,  his  speeches,  in  spite  of  their  lapses 
from  taste  and  moderation,  and  their  endless  repetitions  of 
the  same  thoughts  and  phrases,  are  closely  reasoned  and 
vigorous.  "  His  speeches  are  happily  free  from  high- 
sounding  and  florid  phrases  His  command  of  lan- 
guage was  copious.  .  .  .  But  his  oratory  was  not  the 
oratory  of  epigrams;  it  was  the  oratory  of  full-blooded, 
vehement  passion  "  (Macdonagh). 

Burro  WES  (Peter).  (1753-1841).  Select  Speeches  at 
the  Bar  and  in  the  Irish  Parliament.  With  a 
Memoir  (Pp.  1-134).  Portrait.  Pp.  xvi.  +  364. 
(Hodges  &  Smith).  1850.  Ed.  by  a  relative, 
Waldron  Burrowes. 

Speeches  at  the  Bar  include  two  in  defence  of  Catholic 
civil  rights,  two  in  cases  of  seduction,  and  some  on 
technical  points  of  law.  They  are  admirably  and  clearly 
reasoned,  with  little  rhetoric.  The  same  may  be  said  of 
his  four  fine  speeches  against  the  Union  which  are  models 
of  forcible  and  logical  argument.  The  remaining  speeches 
included  an  early  and  somewhat  florid  declamation  as 
Auditor  of  the  College  Historical  Society.  Speeches  on 
the  Liberty  of  the  Press,  the  advantages  of  education,  the 
character  of  Sergeant  Ball,  etc. 


PROSE  LITERATURE. 


31 


SiiEiL  (1791-1851).  Speeches.  Pp.  xliv.  +  471.  Ed. 
by  Thomas  MacNevin.  (Duffy).  2s.  1st  eel., 
c.  1845 ;  still  in  print. 

Memoir,  pp.  i.-xliv.  No  preface.  No  introductory  notices 
to  the  speeches,  some  of  which  are  undated.  Contains  52 
speeches,  some  delivered  in  the  British  Parliament,  some 
at  the  Catholic  Association's  meetings,  dealing  with  all  the 
great  questions  of  the  day  (1827-1850),  Repeal,  The 
Protestant  Established  Church  in  Ireland,  Catholic  Eman- 
cipation, Irish  Arms  Bill,  Maynooth,  etc.  Sheil  was  a 
Catholic  and  a  strenuous  co-worker  with  O'Connell  in  the 
Catholic  cause. 

Phillips  (Charles).  1787-1850.  Speeches  in  Ireland 
and  England.  Pp.  xvi.  +  205.  (N.Y. :  Kirk  & 
Mercier).    [1817].    Other  eds.,  1822,  1839. 

Contains  : — Preface  (an  eulogy  and  an  apology),  by  John 
Finlay;  5  public  speeches,  viz.,  at  Sligo  against  Veto  and 
Penal  Laws,  at  Cork  on  Catholic  rights  and  claims,  at 
Dinas  Island  (a  panegyric  of  U.S.A.),  at  Dublin  on  pushing 
the  Catholic  claims  in  Parliament,  and  another;  5  at  the 
Bar  (3  in  cases  of  seduction).  No  introductory  notes,  nor 
dates,  nor  index.  Have  been  condemned  (chiefly  by  the 
orator's  political  opponents)  as  ranting  and  full  of  "  tedious 
and  tasteless  exaggerations."  They  are  indeed  too  full  of 
elaborate  balance  and  antithesis  to  be  in  accordance  with 
modern  taste.  Yet  the  language  is  lofty  and  striking,  with 
here  and  there  passages  of  splendid  eloquence.  His 
"  Character  of  Napoleon  Bonaparte  "is  to  be  found  in 
Bell's  elocutionist.  Though  the  author  was  a  Protestant, 
many  remarkable  tributes  to  the  Catholic  Church  are  to 
be  found  in  his  speeches. 

Meagher  (Thomas  Francis).  1823-67.  Speeches  on 
the  Legislative  Independence  of  Ireland.  Pp.  xxxi. 
+  310.     (N.Y.:  Haverty).    [1852].  1885. 

First  edition,  edited  by  Meagher :  in  1869  ed.  with 
Richard  0 'Gorman's  oration  on  Meagher.  All  spoken  in 
1846-8  in  Ireland  during  the  Repeal  and  Young  Ireland 
Movement.  Each  speech  preceded  in  the  book  by  an 
elaborate  introductory  note  by  Meagher  giving  details  of 
contemporary  history  (sometirnes  5  or  6  pp.  of  close  print). 
The  following  are  the  titles  of  speeches  : — English  Legisla- 
tion in  1846— Growth  of  the  National  Spirit;  Arms  Act— 


32 


GUIDE  To  Books  on  Ireland. 


Polish  Insurrection;  Political  economy — morality  of  self- 
government;  Imprisonment  of  Smith  O'Brien;  Accession 
of  Whigs  to  Office;  Freedom  of  opinion — morality  of  war 
(containing  celebrated  passage  On  the  Sword) ;  Irish  Con- 
federation; Galway  Election — struggle  against  England; 
Coercion;  Irish  Pauperism;  American  benevolence;  Self- 
reliance;  Resurrection  of  Italy;  Spirit  of  the  North;  The 
French  Revolution — appeal  to  arms;  Vindication  of  Sedi- 
tion; Transportation  of  Mitchel;  The  Belgian  Revolution 
(4  letters)  :  and  3  or  4  others.  Meagher  certainly  ranks 
with  our  greatest  orators.  His  speeches  are  impassioned 
and  fiery,  but  they  are  powerful  and  logical  as  well. 

Gaskin  (J.  J.).  Carlisle  (Earl  of).  The  Vice  Regal 
Speeches  and  Addresses.  Portrait.  8vo.  5s. 
(Dublin).  1865. 

(Collected  and  edited  by  J.  J.  Gaskin). 

Gladstone  (W.  E.).  Speeches.  Edited  by  A.  W.  Hut- 
ton,  M.A.,  and  H.  J.  Cohen,  M.A.  (with  approval 
of  author).  Vol.  I.,  1886-8;  Vol.  II.,  1888-1891. 
(Methuen).  1902. 

Vol.  I.  contains  speeches  on  Home  Rule  (five) ;  Welsh 
and  Irish  Nationality ;  The  Irish  Question  in  1887 ;  Mitchels- 
town;  State  of  Ireland  (1888);  Government  and  Ireland 
(1888). 

Vol.  II. — Criminal  Law  in  Ireland;  Irish  Question  (1888); 
The  Eisteddfod;  Ireland,  The  Labour  Question  (1890); 
Pamell  (1891),  etc.,  etc.  Several  are  non-pohtical,  dealing 
rather  with  the  question  of  nationality  or  with  non-political 
contemporary  events. 

O'Hagan  (Lord).  Selected  Speeches.  Ed.  by  George 
Teeling.  Pp.  627.  (Longmans).  Portrait. 
1885. 

Selected  with  "  the  design  of  attracting  attention  to  Lord 
O'Hagan 's  consistent  and  unvarying  devotion  to  the  cause 
of  the  civil  and  religious  liberties  of  Ireland  "  (Preface). 
Lord  O'Hagan  joined  the  Repeal  Association  in  1843  as  a 
Federalist.  He  retained  his  early  convictions  to  the  end 
of  his  life.  The  book  consists  of  I. — Speeches  on  Various 
Occasions  (before  the  Repeal  Association,  against  the 
Nunnery  Bill,  at  the  unveiling  of  the  Moore  memorial, 


PROSE  LITERATURE. 


33 


etc.).  II- — speeches  and  arguments  at  the  bar  (defence 
of  Gavan  Duff}^  1842,  sentence  on  William  Mackey,  a 
Fenian,  1868,  etc.).  III. — Parliamentary  speeches  (in 
defence  of  Catholic  liberties,  on  Irish  education,  and  on 
Irish  land  legislation).    The  last  speech  is  dated  1882. 

Sullivan  (A.  M.).  1830-1884.  Speeches  and  Ad- 
dresses. (1859-1881).  Pp.252.  (Dublin:  Sulli- 
van).   [1st  ed.,  1878)]    5th  ed.  1887. 

25  essays  in  all.  I.  14  Political,  II.  2  Social,  III.  3 
Religious,  IV.  2  Biographical,  V.  1  Personal,  VI.  3  Speeches 
at  the  Bar.  Delivered  some  in  England,  some  in  Ireland, 
some  in  Parliament,  some  on  the  platform.  Not  laboured 
and  pompous  harangues,  but  nervous,  trenchant,  and  to 
the  point — sometimes  reaching  high  levels  of  excellence. 
The  subjects  have  by  no  means  lost  their  interest.  They 
include  National  Independence,  The  Irish  Abroad,  The 
Grattan  Statue,  The  Fenian  Rising  (spoken  8th  March, 
1867,  Charles  Stewart  Parnell  (1874),  The  Irish  Case,  John 
MacHale,  The  Moore  Cent-enary,  The  Wearing  of  the 
Green  (spoken  20th  February,  1868,  in  his  own  defence 
after  his  arrest  on  a  charge  of  sympathy  with  the  Man- 
chester Martyrs). 

O'Reilly  (John  Boyle).  1844-1890.  Speeches, 
occupying  Pp.  711-786  in  the  volume  containing 
his  life,  poems  and  speeches.  Ed.  by  his  widow, 
with  Introduction  by  Card.  Gibbons,  the  Life  being 
by  J.  J.  Roche.    (Fisher  Unwin).  1891. 

The  following  are  of  Irish  interest  : — Moore  Centenary, 
The  Irish  National  Cause  (1890),  Ireland's  commercial  and 
industrial  resources  (1886),  Address  to  Henry  Grattan,  A 
Patriot's  monument  (spoken  in  1885  on  the  occasion  of 
the  erection  of  a  monument  to  John  Edward  Kelly,  an  Irish 
Fenian).  Besides  these  there  are  only  two  other  speeches. 
All  were  delivered  in  U.S.A. 

Redmond  (John  E.),  M.P.  Historical  and  Political 
Addresses.  1883-1897.  Pp.  390.  Demy  8vo., 
(Scaly,  Br.yers  &  Walker).    Bs.  1898. 

The  author  (Preface)  rightly  claims  that  the  subjects  dealt 
with  are  of  permanent  interest  to  Irishmen.  1.  Fifteen 
years  in  the  House  of  Commons  (delivered  in  New  York). 
2.  Hugh  O'Neill.  3.  Was  the  Land  League  responsible 
for  crime?    4.  Aims  and  object  of  National  League.  5. 

D 


34 


GUIDE  TO  BOOKS  ON  IRELAND. 


Irish  Protestants  and  Home  Rule.  6.  Thomas  Drummond. 
7.  Wexford  in  '98.  8.  Home  Rule — its  real  meaning.  9. 
Home  Rule  Bill,  1886.  10.  Ditto,  1893.  11.  At  Irish 
National  Convention  in  Chicago.  12.  Coercion  Act 
(defence  of  self  at  Ferns).  13.  Coercion  Act  (defence  of 
Dillon,  O'Brien,  etc.).  14-15.  Parnell  Crisis  (in  Committee 
Room  15).  16.  The  National  Demand.  17.  Speech  in  New- 
York,  1892.  18.  Amnesty  for  political  prisoners.  19. 
Financial  relations. 

-  Speeches  on  Home  Rule,  1886-1909.  Pp.  xl.  + 
348.    Demy  8vo.    (Fisher  Unwin).  1910. 

Edited  by  R.  Barry  O'Brien,  who  contributes  an  Introduction 
— a  review  of  political  events  in  Mr.  Redmond's  lifetime  and 
of  Mr.  Redmond's  share  in  them,  with  a  backward  glance 
at  politics  since  the  middle  of  the  last  century.  Mr. 
Redmond's  speeches  are  happily  and  justly  described  by 
the  editor  as  "  persuasive,  dignified,  moderate  in  tone, 
skilful  in  arrangement,  clear  in  exposition,  logical  and 
incisive  in  character." 


Selections  from  the  Speeches  of  Irish  Orators. 

Phillips  (Charles) :  Specimens  of  Irish  Eloquence. 
Illustrated.    Pp.  435.    (London).  1819. 

Arranged  and  collected,  with  biographical  notices.  Selec- 
tions from  Burke,  Curran,  Grattan,  Sheridan,  Burro wes, 
Bushe,  Plunket,  and  Flood. 

FiNLAY  (J.)  Irish  Eloquence.  Pp.  661.  (Phila- 
delphia: TBiddle),  1861.  (Boston:  Donahoe), 
1867. 

"  The  speeches  of  the  celebrated  Irish  orators,  Phillips, 
Curran  and  Grattan ;  to  which  is  added  the  powerful  appeal 
of  Robert  Emmet,  at  the  close  of  his  trial  for  high  treason. 
Selected  by  a  member  of  the  bar."  "  The  speeches  of 
Phillips  are  now  for  the  first  time  offered  to  the  world  in 
an  authentic  form."  Only  five  of  Grattan's  included.  A 
good  selection. 

The  Household  Book  of  Irish  Eloquence.      Pp.  704. 
(N.Y. :  Kenedy).    1.26  net.    C.  1903. 
Selected  speeches  of  O'Connell,  Curran,  Grattan,  Plunket, 

and  other  Irish  orators, 


PROSE  LITERATURE. 


35 


Sullivan  (T.  D.,  A.  M.,  and  D.  B.)  Speeches  from  the 
Dock:  Protests  of  Irish  Patriotism.  Pp.  360. 
(Gill).  2s.  B2nd  edition  at  present  in  print.  P. 
J.  Kenedy,  of  New  York,  has  lately  brought  out  a 
fine  new  edition  in  large  type,  with  9  full-page 
illustrations.    408  pp.    12mo.  $1.25. 

Speeches  of  Eobert  Emmet,  Wolfe  Tone,  O'Brien, 
Meagher,  Mitchel,  William  Orr,  the  Brothers  Sheares, 
Thomas  Russell,  John  Martin,  M'Manus,  Allen,  Larkin  and 
O'Brien,  John  O'Leary  and  all  the  Fenians.  A  large 
portion  of  the  volume  is  devoted  to  accounts  by  the  editors 
of  the  lives  of  the  speakers  and  of  the  circumstances  in 
which  they  spoke.  All  this  is  told  in  language  eloquent 
and  fervent,  often  vibrating  with  patriotism  but  without 
rant.  The  authors  themselves  were  tried  for  their  share 
in  national  movements,  and  Mr.  A.  M.  Sullivan's  speech 
from  the  dock  is  given.  Some  of  the  later  speeches  seem 
hardly  worthy  of  remembrance.  The  motto  of  the  book 
might  be  : — 

Truth  for  ever  on  the  scaffold,  wrong  for  ever  on  the 
throne, — 

Yet  that  scaffold  sways  the  future,  and,  behind  the  dim 
unknown, 

Standeth  God  within  the  shadow,  keeping  watch  above 
His  own. 

Many  years  ago  a  neat  little  16mo  volume  entitled  The  Beau- 
ties of  Grattan  (186  pages)  was  brought  out  by  Alfred  Howard 
in  his  series,  The  Beauties  of  Literature.  Grattan 's  miscel- 
laneous works  and  his  letters  are  dra^^ni  upon  as  well  as  his 
speeches.  The  selection  is  good,  but  there  are  no  notes  and  no 
introduction.  In  the  same  series  appeared  The  Beauties  of 
Burke  and  The  Beauties  of  Sheridan. 


36 


GUIDE  TO  BOOKS   ON  IRELAND. 


D. — Books  about  Irish  Literature. 

1.  GAELIC  LITERATURE. 

Arnold  (Matthew).  On  the  Study  of  Celtic  Literature. 
Popular  ed.  Pp.  xix.  +  152.  (Smith,  Elder). 
2s.  6d.  [1st  ed.,  1867 ;  a  very  great  number  since], 
1908.    Xew  ed.    (Nutt).    3s.  6d.  1911. 

Lectures  delivered  in  the  Chair  of  Poetry  in  Oxford  (1867). 
' '  Admirable  in  critical  insight  and  S}' mpathy,  though  out 
of  date  as  regards  the  positive  information  given.  But 
with  this  caveat  no  better  introduction  to  the  study  of 
Celtic  antiquity  can  be  recommended." — (Alfred  Nutt  in 
Celtic  and  Mediaeval  Romance,  1904.)  A  general  estimate 
of  the  characteristics  and  of  the  value  of  Welsh  and  Irish 
literature,  pointing  out  the  debt  owed  to  them  by  English 
literature  and  the  influence  of  Celtic  upon  English  genius. 
Matthew  Arnold  w^s  one  of  the  greatest  of  English  critics. 
He  was  a  latter-day  prophet  of  culture,  warring  ever 
against  that  peculiar  compound  of  vulgarity,  coarseness  and 
unintelligencc  which  he  dubbed  "  Philistinism." 

Duffy  (Sir  Charles  Gavan),  Dr.  Sigerson,  and  Dr. 
Douglas  Hyde.  "  The  Revival  of  Irish  Litera- 
ture."   Pp.  161.    (Unwin).    Is.  1894. 

A^  little  book  of  quite  exceptional  value  and  importance. 
First  come  two  addresses  in  which,  before  the  Irish 
Literary  Society  of  London,  Sir  Charles  Gavan  Duffy  set 
forth  his  plans  for  popularising  Irish  literature  and  re- 
nationalising  the  Irish  people.  (2)  A  lecture  delivered  by 
Dr.  Sigerson  at  the  inauguration  of  the  Irish  National 
Literary  Society  (Dublin)  on  Irish  Gaelic  Literature  :  Its 
orfgin^  environment  and  influence — written  in  exquisite 
style  and  condensing  great  erudition  and  wide  culture. 
(3)  Douglas  Hyde  ''On  the  Necessity  for  De-Anglicising 
Ireland,"  a  masterly  and  vigorous  speech  that  practically 
started  the  Gaelic  Revival. 

D'Arbois  de  Jubainville  (H.).  Essai  d'un  Catalogue 
de  la  Litterature  Epique  de  I'lrlande.  Pp.  civ  + 
282.    (Paris:  Thorin).  1883. 

Two  Parts.  I.— Etude  sur  les  MSS.  en  langue  irlandaise 
conserves  dans  les  lies  brittaniques  et  sur  le  continent. 
n.—The  catalogue  itself  arranged  in  alphabetical  order 


PROSE  LITERATURE. 


37 


according  to  the  titles  in  Irish  of  the  MSS.  Part  I.  is  a 
pleasantly  told  account  of  the  author's  journey  from  library 
to  library  and  of  the  treasures  he  found  in  each.  In  the 
catalogue  itself  (Part  II.)  he  gives  full  title  of  MS.  in 
Irish,  translation  of  same,  place  in  library,  probable  date, 
cycle  to  which  it  belongs  {e.g.,  Ossianic,  Cuchulainn,  etc.), 
vvliat  translations  or  editions  of  it  have  been  published, 
and  other  particulars.    Good  index  to  whole  work. 

JuBAiNviLLE  (H.  D'Arbois  de).    Coins  de  Litterature 
Celtique.    8  vols.     (Paris :  Thorin).    8fr.  1883. 

Contents  of  Vol.  I. — Liv.  I.  Les  Bardes;  liv.  II.  Les 
Druides;  liv.  III.  Les  File.  In  book  I.,  ch.  1,  gives 
primitive  texts  about  the  bards,  ch.  5  treats  of  the  Irish 
bards.  In  book  II.,  ch.  6  and  14  are  devoted  expressly  to 
Irish  druidism.  Nearly  the  whole  of  Book  III.  is  con- 
cerned with  the  Irish  file.  Ch.  9,  the  schools  of  Ireland 
in  the  6th,  7th,  and  8th  centuries,  is  of  peculiar  interest. 
Vol.  II. — Le  Cycle  Mythologique  Irlandais,  a  translation 
of  which  has  been  published  by  Mr.  R.  I.  Best.  Vols. 
III.  and  IV.— The  Mabinogion  (Welsh)— V.  and  VI. 
L'Epopee  Celtique  en  Irlande  (see  below),  VII.  and  VIII. — 
Etudes  sur  le  droit  Celtique,  a  course  of  lectures  delivered 
at  the  "  College  de  France."  M.  d'Arbois  de  Jubainville 
was  one  of  the  greatest  of  Celtic  scholars,  ranking  with 
Zimmer,  Windisch,  Stokes,  Meyer  and  Strachan.  These 
lectures  are  rather  erudite  than  popular  or  interesting  to 
the  general  reader. 

"  L'Epopee  Celtique  en  Irlande."  V.  I.  Pp.  xliv.  +  531.  (All 
published).  Part  I.  Fragments  du  cycle  d 'Ulster.  II. 
Fragments  du  cycle  de  Leinster.  III.  Fragments  du  cycle 
mythologique.  A  series  of  translations  (by  the  editor, 
d'Arbois  de  Jubainville,  assisted  by  Messrs.  Dottin,  Duvan, 
Lot  and  Grammont)  of  ancient  Irish  epics  and  sagas.  Each 
piece  is  preceded  by  a  preliminary  note,  sometimes  of 
considerable  length,  giving  particulars  of  the  piece  in 
question  and  the  MS.  from  which  it  was  taken. 

O'Grady  (Standisli).    Early  Bardic  Literature  of  Ire- 
land.   Pp.  88.    (Ponsonby).    1879  and  1882. 

An  essay  not  erudite  nor  antiquarian,  but  popular  in  style, 
enthusiastic  and  picturesque  in  presentment,  of  Early 
Ireland,  as  pictured  by  the  bardic  or  epic  literatiire.  A 
kind  of  introduction  to  the  author's  History  of  Ireland, 
Mythical  Period. 


38 


GUIDE  TO  BOOKS   ON  IRELAND. 


Squire  (Charles).  The  Mythology  of  the  British 
Islands.    (Blackie).    12s.  6d. 

Subt.  : — An  Introduction  to  Celtic  myth,  legend,  poetry, 
and  romance. 

Hyde  (Douglas).  Story  of  Early  Gaelic  Literature. 
Pp.  XXV.  +  174.  (Unwin  New  Irish  Library). 
2s.  1903. 

"  Early/'  i.e.,  to  end  of  Danish  period.  "  Literature  " — 
chiefly  historical,  heroic,  and  romantic,  the  great  cycles 
being  specially  dealt  with.  A  rapid  survey,  intended  for 
the  general  reader.  Not,  however,  dealing  in  vague 
generalities  but  portraying  rather  the  spirit  ^han  the 
bibliography  of  the  literature.  Illustrated  by  translations 
in  ^some  of  which  an  effort  is  made  to  reproduce  the 
peculiarities  of  Irish  metres.    See  especially  p.  174. 

Hyde  (Douglas),  LL.D.,  M.R.I. A.  Literary  History  of 
Ireland.  Pp.  654.  (Unwin).  IGs.  Copious 
Index.    [1899].    4th  ed.,  1906. 

"  My  object  .  .  .  has  been  to  give  a  general  view  of 
the  literature  produced  by  the  Irish-speaking  Irish,  and  to 
reproduce  by  copious  examples  some  of  its  more  salient 
,  .  .  features  "  (Preface).  Chapters  on  "  Who  were  the 
Celts?'*  How  far  can  native  sources  be  relied  on?  Early 
Irish  religion  and  civilization.  The  Brehon  Laws.  Most 
noteworthy  is  the  last  chapter  on  the  History  of  Irish  as 
a  spoken  language.  The  writer  is  a  very  distinguished 
scholar.  He  is  president  of  the  Ga^alic  League.  The 
present  work  gives  on  every  page  proof  of  his  great 
erudition,  and  thorough  mastery  of  the  subject. 

Hull  (Eleanor).  A  Text  Book  of  Irish  Literature. 
Part  I.    Pp.  20  +  X.  +  260.    (Gill).    3s.  1906. 

"  Prepared  to  meet  the  requirements  of  students  under  the 
Intermediate  Board,"  and  now  extensively  used  throughout 
Ireland  as  a  text-book.  Though  not  very  technical  _  in 
language,  the  book  is  for  rather  advanced  students.  Begins 
with  elaborate  chronology  (18  pp.).  In  the  body  of  the 
work  the  literature  is  grouped  by  classes  : — Early  Mytho- 
logical, Red  Branch,  The  Tdin,  Love  Tales,  Prose 
Romances,  Visions,  Ecclesiastical  Writings,  Poetry  of 
Nature,  etc.    Appendix  on  the  old  MS.  books.    Full  index. 


PROSE  LITERATURE. 


39 


 Part  II.    Pp.292.    (Gill).    3s.  1908. 

The  volume  deals  fully  with  the  question  of  the  origin  and 
spread  of  the  Fenian  and  Ossianic  Tales  and  Ballads,  and 
with  the  Historical  and  Annalistic  literature  of  Ireland. 
It  takes  up  the  Bardic  poetry  at  the  point  at  which  it  was 
left  in  the  first  volume,  and  deals  with  the  Jacobite  Poetry 
of  the  eighteenth  century,  and  with  the  popular  songs  and 
ballads  down  to  our  own  day.  The  Chronology  of  Irish 
writers  is  carried  on  from  1550  to  1850,  and  a  full  biblio- 
graphy to  both  volumes  is  added  as  an  Appendix.  In 
neither  part  is  there  question  of  Irish  literature  written 
in  English, 

McLean  (Magnus),  M.A.,  D.Sc.  The  Literature  of  the 
Celts :  its  History  and  Romance.  Pp.  395. 
(Blackie).    7s.  6d.  1902. 

"  A  popular  introduction  to  the  study  of  the  literature." 
The  substance  of  a  series  of  lectures  delivered  in  Glasgow. 
Treats  of,  first  the  Dawn  of  Celtic  literature;  St.  Patrick 
as  the  Pioneer  of  Celtic  writers ;  St.  Columba  and  the  dawn 
of  Celtic  letters  in  Scotland;  Adamnan's  Life  of  St. 
Columba;  Book  of  Deer;  the  MSS  legacy  of  the  past;  the 
various  cycles  (mythological,  etc.);  Celtic  literary  revivals; 
influence  of  Church  on  Gaelic  literature ;  influence  cf  Celtic 
on  English  literature ;  mast-er  gleaners  of  Gaelic  poetry ; 
master  scholars  of  Celtic  literature.  Entertaining  style, 
showing  much  enthusiasm.  Not  a  mere  vague  sketch,  but 
based  on  solid  facts  (and  even  figures  when  necessary). 
Good  indexes.  The  same  author  has  also  published  "  The 
Literature  of  the  Highlands."    (Blackie.)    7s.  6d. 

MacNeill  (Dr.  Nigel),  Minister  of  Bedford.  The 
Literature  of  the  Highlanders.  Pp.  350.  (Inver- 
ness:  John  Noble).    5s.  1892. 

A  History  of  Gaelic  Lit^erature  from  early  times  to  the 
present  day.  Claims  to  be  "  the  first  complete  account  of 
Gaelic  literature  that  has  been  offered  to  the  public."  .  .  . 
"  The  names  of  about  180  composers  of  Gaelic  poetry  alone 
occur  in  this  volume,  while  not  more  than  a  third  of  that 
number  will  be  found  in  any  previous  work  on  the  subject." 
Contains  chapters  on  "  Patrick,"  "  Brigid,"  and 
"  Columba."  Clear  and  concise.  Illustrative  extracts  are 
given. 


40 


GUIDE  TO  BOOKS   ON  IRELAND. 


RiDGWAY  (W.).  The  Date  of  the  First  Shaping  of  the 
Ciichiilin  Saga.  (Oxford:  Clarendon  Press).  3s. 
net.  1907. 

Walker's  (J.  C.)  Essay  on  the  Origin  of  Romantic 
Fabling  in  Ireland.    4:to.  1806. 

NuTT  (Alfred)  ed.  Popular  Studies  in  Mytholog}^, 
Romance,  and  Folklore.  A  little  series  of  6d. 
booklets  intended  to  be  popular  and  suggestive 
rather  than  erudite.  Each  consists  of  from  40-60 
pp.  The  text  is  free  from  notes  and  references,  but 
at  the  end  there  is  a  chronological  and  a  biblio- 
graphical appendix.  Of  Irish  interest  are  the  fol- 
lowing :  — 

1.  Celtic  and  Mediaeval  Romance.  By  Alfred  Nutt.  2nd 
ed.  1904.  The  influence  of  Celtic  (including  Welsh  and 
Irish)  romantic  literature  on  the  mediaeval  (1140-1240) 
romance  of  Arthur  and  his  knights  which  flourished  in 
Brittany.  State  of  society  in  mediaeval  Ireland  inciden- 
tally touched  on. 

3.  Ossian  and  the  Ossianic  Literature.  By  Alfred  Nutt. 
1899.  A  discussion  of  the  origin,  growth,  and  evolution 
of  that  body  of  Irish  literature  known  as  the  Ossianic  or 
Fenian  cycle,  with  some  remarks  as  to  its  literary  merit. 
8.  Cuchuiainn,  the  Irish  Achilles.  By  Alfred  Nutt.  1900. 
First  summarises  the  whole  Saga.  Then  gives  the  conclu- 
sions of  criticism  as  to  its  date  and  development,  comparing 
it  with  other  ancient  epics,  and  estimating  its  value. 


Gregory  (Lady).     Poets  and  Dreamers.     Pp.  254. 
(Hodges,  Figgis).    3rd  ed.  1903. 

An  effort  to  come  at  and  to  reproduce  without  embellish- 
ment or  "  cooking  "  of  any  kind  the  poetry  and  romance 
of  the  mind  of  the  Gaelic-speaking  Irish  peasant.  Thus 
there  is  a  long  and  pleasant  rambling  chat  about  the  poet 
Kaftery ,  gleaned  from  peasant  talk.  '  '  Workhouse  Dreams, " 
rambliug,  disjointed  stories  heard  from  inmates  of  the 
poorhouse.  "  The  Wandering  Tribe,"  a  talk  about  the 
Gipsies.      "  Herb-Healing  "  and  "  Mountain  Theology," 


PROSE  LITERATURE. 


41 


floating  and  fragmentary  folk-fancies.  Besides  this,  there 
is  an  essay  on  Douglas  Hyde's  poems  with  translations  of 
them.  The  same  is  done  for  foiu'  of  his  plays.  There 
is  an  essay  on  Boer  Ballads,  another  on  Jacobite  Ballads, 
another  on  West  Irish  Ballads.  The  translations  throughout 
are  painfully  literal  and  bald,  but  this  is  doubtless  due  to 
the  author's  purpose. 

MacLeod  (Fiona).  The  Winged  Destiny.  Vol.  V.  in 
collected  works.  Pp.  365.  (Heinemann).  5s. 
net.    [1904.]    New  ed,  1910. 

Subt.  : — Studies  in  the  spiritual  history  of  the  Gael.  Con- 
tains— I.  The  Sunset  of  Old  Tales — fragments  of  old 
stories  gleaned  in  remote  places  of  the  Hebrides  and 
wrought  into  a  kind  of  weird  beauty  by  a  poet's  mind. 
The  real  men  and  women  of  the  tale  live  in  a  misty  spirit- 
world.  II.  Children  of  Water  consists  of  similar  tales. 
III.  For  the  Beauty  of  an  Idea — reflections  on  the  Celtic 
movement  on  which  the  author  expresses  somewhat  curious 
personal  views.  In  "  The  Gaelic  Heart  "  he  endeavours 
to  portray  by  tales  and  allegories  the  spirit  of  the  Gael.  IV. 
Anima  Celtica — in  this  he  insists  on  the  treasures  of 
spiritual  beauty  cherished  in  the  literature  and  legend  of 
the  Gael.  Includes  articles  on  Carmichael's  Carmina 
Gadelica,  E.  Carbery's  Four  Winds  of  Erin,  Lady 
Gregory's  Cuchulainn,  Yeats 's  The  Shadowy  Waters.  V. 
The  Winged  Destiny — somewhat  obscure  and  pantheistic 
musings  on  Nature  and  Fate.  One  of  the  most  beautiful 
books  that  have  appeared  in  the  New  Century. 


2.  ANGLO-IRISH  LITERATURE. 

No  general  history  of  Anglo-Irish  Literature  ha^s  as 
yet  been  produced.  The  most  valuable  work  on  this 
subject  that  has  appeared  up  to  the  present  is  un- 
doubtedly Brooke  and  Rolleston's  Treasury  of  Irish 
Poetry,  for  an  account  of  which  see  p.  70.  Probably 
the  larger  portion  of  this  work  is  taken  up  by  critical 
and  biographical  accounts  of  Irish  poets  written  by 
the  best  authorities. 

Individual  biographies  of  Irish  writers  will  be  found 
in  the  Biographical  Section,  Vol.  11. 


42 


GUIDE  TO  BOOKS   ON  IRELAND. 


McCarthy  (Denis  Florence).  The  Poets  and  Drama- 
tists of  Ireland.  Vol.  I.  (all  published).  Pp.  252. 
16mo.  (Duffy).  [Duffy's  Library  of  Ireland]. 
1846. 

Does  not  seem  to  have  reached  a  2nd  edition.  Introduction 
gives  "  the  religious  opinions  and  forms  of  worship  of  our 
pagan  ancestors,  as  well  as  their  state  of  literary  and 
general  knowledge."  To  this  is  added  "a  rapid  sketch 
of  our  most  eminent  early  Christian  writers,  accompanied 
with  translations."  Object  of  book  : — To  claim,  as  Irish, 
authors  writing  in  England  and  in  English  but  born  in 
Ireland.  Gives  specimens  and  short  biographical  account 
of  following  : — Stanihurst,  Lodowick,  Barry,  Denham, 
Roger  Boyle,  Roscommon,  Flecknoe,  Nahum  Tate, 
Southern,  Swift,  Thomas  Sheridan,  P.  Delany,  Dunkin, 
Congreve,  Farquhar,  Steele;  Samuel  Madden,  Sir  T. 
Parnell. 


O'DoNOGHUE  (D.  J.).  The  Poets  of  Ireland,  Bio- 
graphical Dictionary.  (O'Donoghue).  [1893]. 
1911. 

Contains  in  alphabetical  order  the  names  of  over  2,000 
writers  of  verse  or  poets  of  Irish  origin  (in  the  widest 
sense)  with  titles  and  dates  of  their  works,  and,  where  any 
such  could  be  discovered,  biographical  details.  The  earliest 
of  these  pcets  wrote  about  1740,  for  Gaelic  poets  are  not 
included.  Of  course  the  book  contains  the  names  of 
many  worthless  scribblers,  but  this  was  inevitable,  as  the 
author  claims  almost  absolute  completeness.  The  author 
has  been  at  great  pains  to  clear  up  by  original  research 
many  controverted  points  as  to  birth,  nationality,  dates, 
authorship,  anonymity,  etc.  A  work  of  enormous  research. 
A  new  edition  (practically  re-written)  is  in  course  of  prepara- 
tion. Two  fascicules  have  been  issued  separately,  but  the 
whole  work  is  shortly  to  appear  in  a  single  volume.  It 
will  comprise  about  5,000  writers  of  verse  in  English,  the 
volumes  whose  titles  are"  given  numbering  not  less  than 
20,000.  In  the  great  majority  of  instances  the  entries 
include  biographical  details.  While  the  bibliography  of  the 
well-kno^\Ti  poets  is  very  full,  special  trouble  is  taken  to 
give  details  of  obscurer  writers.  Great  numbers  of  anonyms 
and  pseudonyms  have  been  identified  and  many  literary 
obscurities  elucidated.  The  volume  is  to  be  published  by 
Messrs.  Hodges  and  Figgis. 


PROSE  LITERATURE. 


43 


Ryan  (W.  P.)-  The  Irish  Literary  Revival:  its  His- 
tory, Pioneers,  and  Possibilities.  Pp.  184. 
(Ward  and  Downey).  1894.  Portraits  of  D.  J. 
O'Donoghue,  P.  J.  MoCall,  T.  W.  RoUeston,  Gavan 
Duffy,  Stopford  Brooke,  William  O'Brien,  M.P. ;  A. 
P.  Graves,  Michael  MacDonagh,  W.  B.  Yeats, 
Douglas  Hyde,  John  O'Leary,  and  others,  with  an 
account  of  the  literary  labours  of  most  of  these  and 
of  a  host  of  other  workers  and  pioneers. 

The  fullest  information  is  given  about  the  various  Irish 
literary  movements  from  1884-94.  First  there  is  an 
account  of  the  enthusiastic  band  of  young  Irish  writers 
known  as  the  Southwark  Club,  which  developed  later  into 
the  Irish  Literary  Society  of  London.  Then  comes  the 
Dublin  Pan-Celtic  Association,  which  afterwards  became 
the  National  Literary  Society.  Finally,  there  is  an  account 
of  the  work  and  workers  of  the  Literary  Societies  in 
Belfast,  in  Cork  and  in  various  English  provincial  centres. 
All  this  is  told  in  a  fascinating  way.  It  chronicles  a 
multitude  of  generous  hopes  and  aspirations,  some  that 
have  won  fruition,  many  that  are  extinguished  for  ever. 

McGee  (Thomas  D'Arcy).  The  Irish  Writers  of  the 
Seventeenth  Century.  16mo.  Pp.  262.  (Duffy). 
Is.  1st  ed.,  1846;  many  since,  but  now  out  of 
print. 

Popular  accounts  of  Florence  Conroy,  P.  0 'Sullivan  Beare, 
Geoffry  Keating,  James  Usher,  Ward,  Colgan  and  O'Clery, 
Sir  James  Ware,  John  Lynch,  Bishop  of  Killala;  Luke 
Wadding,  Duald  MacFirbis,  David  Kothe,  Peter  Walsh, 
Nicholas  French,  Dominick  O'Daly,  Peter  Talbot,  Oliver 
Plunket,  Koderick  0 'Flaherty,  Hugh  O'Beilly,  Bernard 
O'Connor,  Wm.  Molyneux.    Written  in  very  readable  style. 

O'Hagan  (John).  The  Poetiy  of  Sir  Samuel  Ferguson. 
Pp.  88.    (Gill).  1887. 

An  analysis  and  appreciation,  with  citations,  by  a  personal 
friend  of  the  poet.  "  I  have  endeavoured  to  express  in 
these  pages  my  sense,  not  only  of  Sir  S.  Ferguson's  genius 
as  a  poet,  but  of  his  singular  success  in  giving  to  Irish 
legends  and  traditions,  to  the  manners,  feelings,  and 
distinctive  features  of  the  Irish  race,  due  expression  in  the 
English  language." 


44 


GUIDE  TO  BOOKS   ON  IRELAND. 


Yeats  (W.  B.).  John  M.  Synge  and  the  Ireland  of  his 
Time.  Pp.  43.  (The  Cuala  Press).  350  copies 
printed.  1911. 

Intended  as  an  Introduction  to  Maunsel's  edition  of  J.  M. 
S3'nge's  collected  works,  but  not  published  as  intended 
because  of  disagreement  with  the  publisher.  Less  an 
account' of  Synge 's  life  and  writings  than  a  psychology  of 
him.  The  author  thereby  takes  occasion  to  set  forth  his 
own  peculiar  literary  and  other  ideals,  and  to  reprobate  the 
prevailing  political  Nationalism.  Appended  is  a  vivid  little 
account  by  Jack  B.  Yeats  of  a  walk  in  Connemara  with 
J.  M.  Synge. 

Dr.  R.  R.  Madden's  Histoiy  of  Periodical  Literature, 
from  the  end  of  the  17th  to  the  middle  of  the  19th 
century,  will  be  found  very  useful.  For  a  full 
note  on  it  see  Vol.  III.  under  Periodicals." 

Krans  (H.  S.).  W.  B.  Yeats  and  the  Irish  Literary 
Revival.  Pp.  196.  (Heinemann).  Is.  6d. 
[Contemporary  men  of  letters  series,  1905]. 

"  A  sketch  of  the  Irish  literary  revival  that  may  serve  as 
a  background  to  the  work  of  Mr.  Yeats."  (Pref.)  Appre- 
ciative and  informing  rather  than  critical  in  tone. 
Pleasantly  written.  Contains  bibliography  of  Yeats.  The 
first  chapter  deals  briefly  with  other  prominent  figures  in 
the  new  movement. 

It  is  hoped  that  an  account  of  the  chief  Literary 
Reviews  will  be  included  in  the  Section  Periodicals  " 
in  Vol.  III.  of  the  present  work. 


3.  IRISH  AYRITERS. 

Some  important  books  dealing  with  Irish  writers  will  be  found 
in  other  sections,  notably  D.  J.  O'Donoghue's  Dictionary  of 
Irish  Poets,  and  Geographical  Distribution  of  Irish  Ability. 
Many  of  the  General  Collections  of  Irish  Literature  and  many 
of  the  Anthologies  of  Poetry  have  biographical  details  of  the 
writers.  This  section  contains  merely  a  number  of  reference 
books  dealing  explicitly  with  the  subject,  and  not  classifiable 
elsewhere. 


PROSE  LITERATURE. 


45 


Tanner  (Thomas).     Bibliotlieca  Brittanico-Hibernica. 
(London).  1748. 

"  Sive  de  scriptoribus  qui  in  Anglia,  Scotia,  et  Hibernia 
ad  saeculi  17  initium  floruerunt,  literarum  ordine  juxta 
familiarum  nomina  dispositis  comment arius." 

Ware  (Sir  James).    History  of  the  Writers  of  Ireland. 

Was  first  published  in  Latin  in  1639.  Walter  Harris,  in 
1764,  translated  and  revised  it,  supplied  omissions,  and 
continued  it  down  to  1700.  The  quantity  of  new  matter 
added  by  Harris  amounts  to  over  250  folio  pages  out  of  363, 
but  Harris  drew  largely  on  MS.  not^s  left  by  Ware,  who 
died  in  1666.  The  work  consists  of  a  catalogue,  in  chrono- 
logical order,  of  Irish  writers,  with  a  list  of  the  works  of 
each.  In  many  cases  biographical  particulars  are  added. 
"  Lish  writers  "  are  divided  into  two  classes — I.  "  Such 
writers  who  were  born  in  that  kingdom  "  (306  pp.).  II. 
"  Such  who,  though  foreigners,  enjoyed  preferments  or 
ofi&ces  there,  or  had  their  education  in  it."  N.B. — Harris's 
preface  shows  an  anti-Catholic  bias  alien  to  the  mind  of 
Ware. 

O'Reilly  (Edward).    Irish  Writers.    Pp.  233.  4to. 

A  chronological  account  of  nearly  four  hundred  Irish 
writers,  commencing  wdth  the  earliest  account  of  Irish 
history,  and  carried  down  to  the  year  of  our  Lord  1750, 
with  a  descriptive  catalogue  of  such  of  their  works  as  are 
still  extant,  in  Verse  or  Prose,  consisting  of  upwards  of 
one  thousand  separate  tracts.  Was  published  in  the 
Transactions  of  the  Iberno-Celtic  Society  in  1820. 
Includes  only  writers  of  Irish,  Occasionally  very  brief 
biographical  notes  are  given.  Chronological  order.  Most 
of  the  works  catalogued  are  unpublished.  A  w^ork  of 
immense  labour  and  erudition,  and  the  only  one  on  the 
subject. 

N.B. — 0 'Conor's  Rerum  Hibernicarum  Scriptores  Veteres  is 
not  a  bibliography  nor  an  account  of  Irish  writers,  but  an  edition 
of  some  of  the  early  Irish  Annals,  e.g.,  Ulster,  Tighernach, 
Innisfallen,  etc. 

Biographical  Dictionary  of  the  Living  Authors  of  Great 
Britain  and  Ireland,  Literary  Memoirs,  Anecdotes, 
List  of  their  Publications.  No,  of  Editions,  &c.  8vo. 
bds.,  5s.  1816, 


46 


GUIDE  TO  BOOKS   ON  IRELAND. 


DuvAu  (Louis).  Les  Poetes  de  Cour  Irlandais  et  Scan- 
dinaves.  1896.  A  ''these  de  doctorat  "  of  less 
than  60  pp. 

Mr.  D.  J.  O'Donogliue,  Librarian  of  University  College, 
N.U.I. ,  Dublin,  has  in  preparation  a  volume  on  Irish 
Pseudonyms.  It  will  consist  of  a  list  of  all  the  pseudonyms  of 
Irish  writers,  with  the  real  names  revealed,  followed  by  a  list 
of  authors,  with  their  pseudonyms,  and  a  few  biographical  details, 
as  far  as  such  are  discoverable.  Some  thousands  of  pseudonyms 
are  dealt  with. 


4.  SOME  BOOKS  ABOUT  THE  THEATRE  IN  IRELAND. 
By  Joseph  Hollo  way. 

^a)  History  of  the  Theatre  in  Ireland  (inchiding 
Dramatic  Criticism). 

Chetwood  (W.  R.).  "  A  General  History  of  the  Stage, 
more  particularly  the  Irish  Theatre,  from  its  orgin 
in  Greece  down  to  the  present  time.  With  the 
Memoirs  of  the  principal  performers  that  have  ap- 
peared on  the  Dublin  Stage  for  the  last  fifty  years. 
With  notes,  ancient,  modem,  foreign,  domestic, 
serious,  comic,  moral,  merry,  historical,  geographi- 
cal. Containing  many  Theatrical  Anecdotes.  Also 
several  pieces  of  Poetry  never  before  published." 
Printed  by  E.  Rvder,  of  George's  Lane,  Dublin,  in 
1749. 

This  is  a  useful  book  of  reference  on  the  stage  of  that 
period,  and  contains  many  biographical  notes  of  contem- 
porary players. 

Shea  (P.).  A  Full  Vindication  of  Thomas  Sheridan, 
Esq.  Being  an  Answer  to  a  scurrilous  Pamphlet, 
entitled  The  Case  of  the  Stage.''  (Second  Edi- 
tion).   Dublin.    Printed  in  the  year  1768. 

An  essay  full  of  biting,  bitter  sarcasm. 


PROSE  LITERATURE. 


47 


Sheridan  (Thomas).  Mr.  Sheridan's  Address  to  the 
Town.  Printed  by  Martineau  &  Kinneir,  on  the 
Lower  Blind  Keys,  near  Fishamble  Street.  1743. 
Pamphlet. 

A  Letter  to  Messieurs  Victor  and  Sowdon,  Managers  of 
the  Theatre  Royal.  Dublin.  Printed  in  the  year 
1755. 

An  interesting  pamphlet,  calling  attention  to  some  of  the 
abuses  of  the  stage  in  Dublin  in  those  days. 

Baker  (David  Erskine).  Biographia  Dramatica ;  or, 
A  Companion  to  the  Playhouse. 

Containing  Historical  and  Critical  Memoirs,  and  original 
Anecdotes  of  British  and  Irish  Dramatic  ^Yrlters  from  the 
commencement  of  our  Theatrical  Exhibitions  :  amongst 
whom  are  some  of  the  most  celebrated  actors.  Also  an  Alpha- 
betical Account  of  their  Works,  the  dates  when  printed, 
and  occasional  Observations  on  their  Merits,  together  with 
an  Introductory  View  of  the  Rise  and  Progress  of  the 
British  Stage.  A  new  edition,  carefully  corrected,  greatly 
enlarged,  and  continued  from  1764  to  1782.  Published  in 
Two  Volumes.  Dublin,  1782.  An  invaluable  book  of 
reference. 

Hitchcock  (Robert).  An  Historical  View  of  the  Irish 
Stage  from  its  earliest  period  down  to  the  season 
of  1788.  Interspersed  with  Theatrical  Anecdotes 
and  an  Occasional  Review  of  the  Irish  Dramatic 
Authors  and  Actors. 

This  work  was  published  in  two  volumes,  the  first  in  1788 
and  the  second  in  1794.  The  author  held  the  post  of 
prompter  in  Smock  Alley  Theatre. 

Croker  (John  Wilson)  Familiar  Epistles  to  Frederick 
E.  J(one)s,  Esq.,  on  the  present  state  of  the  Irish 
Stage.    12mo.    Boards,  ]s.  6d.    (Dublin).  3804. 

Jones  (Frederick  E.).  Thoughts  on  Familiar  Epistles. 
An  answer  to  above. 

Tones  was  the  manager  of  Crow  Street  Theatre  at  that  time. 


48 


GUIDE  TO  BOOKS   ON  IRELAND. 


OwENSON  (Robert).  Theatrical  Tears  occasioned  by 
the  perusal  of  Familiar  Epistles. 

Owenson  was  an  actor,  and  father  of  Lady  Morgan. 

Kilkenny  Private  Theatricals.  With  Introductory 
Observations  on  other  Private  Theatres  in  Ireland 
before  it  was  opened.  4to.  Boards.  Rare.  Only 
80  copies  printed  for  private  circulation.  £2  2s. 
1825. 

Calcraft  (John  William).  A  Defence  of  the  Stage, 
or  an  Inquiry  into  the  Real  Qualities  of  Theatrical 
Entertainments,  their  Scope  and  Tendency.  Being 
a  Reply  to  a  Sermon,  entitled  The  Evil  of  Theatri- 
cal Amusements  Stated  and  Illustrated,"  lately 
published  in  Dublin,  and  preached  in  the  Wes- 
leyan  Methodist  Chapel  in  Lower  Abbey  Street,  on 
Sunday,  November  4,  1838,  by  the  Rev.  Dr.  John 
B.  Bennett,  including  an  Examination  of  the 
Authorities  on  which  that  Sermon  is  founded. 
Published  in  Dublin.     (Milliken  &  Son).  1839. 

Mr.  Calcraft  was  the  Lessee  and  Manager  of  the  Theatre 
Eoyal,  Dublin,  at  the  time. 

Levey  (R.  M.)  and  O'Rourke  (J.).  Theatre  Royal. 
Annals  of  the  Theatre  Roval,  Dublin,  1821  to 
1880.    Cr.  8vo.    Cloth,  3s.  6d.    (Dublin).  1880. 

''With  occasional  notes  and  observations,"  says  the  title 
page,  and  that  just  sums  up  the  book.  Mr.  Levey  was 
musical  director  of  old  Theatre  Royal  from  1837-1880. 
He  was  born  in  1811,  and  died  on  June  28,  1899. 

Genest  (Rev.  John).  Some  Account  of  the  English 
Stage  from  the  Restoration  to  1830. 

Some  valuable  information  about  Irish  players  is  to  be 
found  in  this  work.  The  writer  was  a  Bath  clergyman. 
The  work  was  published  in  1882. 


PROSE  LITERATURE.  49 

Victor  (B.)  A  Historv  of  the  Irish  Stage  from 
1730"  to  1761. 

This  writer  was  manager  of  Smock  Alley  Theatre  for  a 
time.    His  book  is  reliable  as  far  as  it  goes. 

DoRAN  (Dr.  J.).  Their  Majesties  Servants;  or,  Annals 
of  the  English  Stage,  from  Thomas.  Betterton  to 
Edmund  Kean.  Actors,  Authors,  Audiences. 
Second  Edition  (revised,  corrected  and  enlarged). 
(London:  Wm.  H.  Allen  &  Co.).  1865. 

A  capital  book  of  reference — full  of  matter  relating  to 
Irish  talent. 

The  History  of  the  Theatre  Eoyal  (Hawkins  Street, 
Dublin).  Reprinted  from  Saunders's  News-Letter, 
by  Ponsonby,  in  1870. 

A  book  full  of  interest. 

Hughes  (Rev.  S.  C).  The  Pre-Victorian  Drama  in 
Dublin. 

This  little  volume  gives  an  account  of  the  performances 
on  the  Dublin  Stage  from  the  davs  of  John  Ogilby's 
Theatre  in  Werburgh  Street,  1635. 

Gilbert  (Sir  John  T.).     The  History  of  Dublin. 

This  work  contains,  besides  other  interesting  theatrical 
matter,  an  account  of  the  mystery  or  miracle  plays  per- 
formed in  1528. 

Fahy  (Francis  A.)  and  O'Donoghue  (David  J.).  Ire- 
land in  London.  Evening  Telegraph  Reprints, 
VII.  1889. 

Full  of  interesting  matter  about  the  stage,  Irish  players, 
and  IHsh  dramatists. 

Flynn  (J.  W.).  Random  Recollections  of  an  Old  Cork 
Playgoer. 

An  excellent  peep  into  theatrical  matters  in  the  South. 


50 


GUIDE  TO  BOOKS   ON  IRELAND. 


Wallack  (Lester).     Memoirs  of  Fifty  Years. 

A  book  full  of  interesting  notes  and  portraits  of  Irish 
players,  etc. 

MoLLOY  (J.  Fitzgerald).  The  Romance  of  the  Irish 
Stage.    2  vols.    (TJowne}^.    2nd  ed.,  1897. 

Subt.  : — With  pictures  of  the  Irish  capital  in  the  18th 
century  (C.  1730,  sq.).  Covers,  roughly,  period  1700-1800. 
A  chatty,  anecdotal  account  of  the  fortunes  of  the  various 
theatres  in  Dublin,  with  many  digressions  to  pick  up  a  good 
story  or  a  picturesque  incident.  Illustrated  out  of  old 
biographies,  news-sheets,  play  bills,  and  manuscripts.  A 
whole  library,"  says  the  Pref.,  *'  may  be  said  to  be  con- 
densed in  this  book."  But  the  book  is  intended  for 
amusement,  not  for  serious  purposes,  unless  as  a  vivid 
ind  lively  picture  of  certain  aspects  of  society  at  the  time. 

O'DoNNELL  (Frank  Hugh).  The  Stage  Irishman  of 
the  Pseudo-Celtic  Drama.  Pp.  47.  (Long).  Is. 
net.  1904. 

An  unsparing  and  even  violent  denunciation  of  certain  of 
the  plays  of  W.  B.  Yeats,  with  numerous  quotations  from 
a  pronouncement  on  the  same  subject  by  Stephen  Gwynn 
in  1901. 

BoRSA  (Mario).  The  English  Stage  of  To-day.  Trans- 
lated from  Italian  and  edited  with  a  Prefatory 
Note  by  Selwyn  Bruton.  With  Chapters  on  the 
Irish  National  Theatre  and  George  Bernard  Shaw. 
3s.  6d.  1908. 

A  most  interesting  contribution  to  the  modern  theatrical 
movement  in  Ireland. 

O'Neill  (James  J.).  Irish  Theatrical  History.  A 
Biographical  Essay.  (Dublin  :  Browne  &  Nolan). 
Privately  printed,  1910. 

I  found  this  essay  most  useful  in  compiling  my  list  of  books 
bearing  on  the  Irish  Stage.  Mr.  O'Neill  is  Librarian  of 
the  Royal  Irish  Academy. 


PROSE  LITERATURE. 


51 


Howe  (P.  P.).  The  Repertoire  Theatre.  A  Record  and 
a  Criticism.  (Published  in  London  by  Martin 
Seeker).    1910.    2s.  6d.  net. 

There  is  much  about  the  Abbey  Theatre  Company  in 
Chapter  Two  (experiments  in  Repertoire),  and  the  list  of 
plays  produced  by  the  Abbey  Theatre  Company  and  its 
predecessors  is  included  in  the  work. 

Montague  (0.  E.).  Dramatic  Values.  Book  of  Dra- 
matic Criticisms.  (London :  Published  by 
Methuen  &  Co.).    5s.  net. 

The  opening  chapter  is  on  The  Plays  of  J.  M.  Synge, 
and  in  the  chapter  on  "  Good  Acting/'  the  Abbey  Com- 
pany comes  in  for  great  eulogy.    (February  9,  1911). 

Mair  (G.  H.),  M.A.  English  Literature.  Modern. 
(Home  University  Library).    Is.  1911. 

In  the  chapter  on  "  The  Present  Age,"  the  Irish  dramatic 
movement  is  commented  upon,  and  W.  B.  Yeats,  J.  M. 
Synge,  G.  B.  Shaw,  etc.,  referred  to. 

Moore  (George).  Ave.  First  Volume  of  Hail  and  Fare- 
well.    (Heinemann).    6s.  1911. 

In  this  strange  book  the  beginnings  of  the  Irish  Literary 
Theatre  are  traced,  and  vivid  pen  pictures  of  those  con- 
nected with,  same  given.  The  work  to  be  completed  in 
three  volumes. 


(b)  Actors  and  Playwrights. 

Wilson  (Mrs.  C.  Baron).  Our  Actresses;  or,  Glances 
at  Stage  Favourites,  Past  and  Present.  In  2  vols. 
(London :  Published  by  Smith,  Elder  &  Co.).  1844. 

Full  of  interesting  matter  about  Irish  players,  such  as 
Miss  O'Neill  (Lady  Wrixon  Beecher),  Miss  Smithson 
(Madame  Berlioz),  Mrs.  Glover,  etc. 

FiNLAY  (John),  LL.D.  Miscellanies.  (Published, 
Dublin).  1835. 

Containing  Dramatic  Criticism  of  Kean  (1814-15),  Kemble 
(1815),  Macready,  Johnson,  Warde,  etc.,  on  the  Dublin 
Stage. 


62 


GUIDE  TO  BOOKS   ON  IRELAND. 


Pascoe  (Charles  E.),  edited  by.  Our  Actors  and  Ac- 
tresses. The  Dramatic  List.  A  Record  of  the 
Performances  of  Living  Actors  and  Actresses  on 
the  British  Stage.  Second  Edition  revised  and 
enlarged.     (London:  David  Boyne).  1880. 

Most  interesting  particulars  of  Dion  Boucicanlt,  Edmund 
Falconer,  Shiel  Barry,  J.  D.  Beveridge,  and  several  other 
Irish  players  may  be  found  therein. 

BiCKLEY  (Francis).  J.  M.  Synge  and  the  Irish  Dra- 
matic Movement.    (Constable).  1911. 

The  following  books  contain  interesting  reference  to  the  Irish 
Stage,  etc.  : — 

Boaden's  Life  of  Mrs.  Siddons, 
Davies'  Life  of  Garrich, 
Augustin  Daly's  Life  of  Peg  Wof)ingto7i, 
W.  J.  Lawrence's  Life  of  Barry  Sullivan. 

Life  of  G,  V,  Brooke. 
Stayley's  Life  ayid  Opinions  of  an  Actor. 
William  Macready's  Reminiscences, 
Robins'  Twehw  Great  Actresses. 
Gait's  Lives  of  the  Players. 
Tate  Wilkinson's  Memoirs. 

Cooke  (William).  Memoirs  of  Charles  Macklin,  Come- 
dian.   (London).    2nd  ed.  1806. 

With  the  dramatic  characters,  manners,  anecdotes,  etc., 
of  the  age  in  which  he  lived. 

KiRKMAN  (C.  J.).  Charles  Macklin.  Memoirs  of  his 
Life.    2  vols.    (London).  1799. 

Parry  (E.  A.)  Charles  Macklin.  Pp.  208.  (Kegan, 
Paul).  1891. 

SiLLARD  (Robert  M.).  Barry  Sullivan  and  His  Con- 
temporaries. A  Histronic  Record,  with  Portraits. 
In  2  volumes.  (London.  T.  Fisher  Unwin).  1901. 
Full  of  interesting  matter  on  the  actor's  visits  to  Ireland. 

Winter  (William).  Life,  Stories,  and  Poems  of  John 
Brougham.  Pp.  x.  +  461.  (Boston:  Osgood). 
3  parts.  1881. 


t>ROSE  LITERATURS. 


53 


(c)  Pamphlets,  Periodicals  and  Articles. 

Pamphlets. — 

A  Full  Vindication  of  the  Manager  of  the  Theatre 
Royal,  written  by  himself  (Thomas  Sheridan) ,  Dublin, 
March  4th,  1746-7/' 

Dublin  in  an  Uproar,  or  the  Ladies  Robbed  of  their 
Pleasure  " — same  period. 

"  An  Appeal  to  the  Publick,  containing  an  Account 
of  the  Rise,  Progress,  and  Establishment  of  the  First 
Regular  Theatre  in  Dublin,  with  the  Causes  of  its  De- 
cline and  Ruin,"  by  Thomas  Sheridan, 

A  Familiar  Dialogue  between  Mr.  Crowe  and  Mr. 
Alley,  two  Theatrical  Taylors,"  1762. 

Zanga's  Triumph,  or  Harlequin  and  Othello  at 
War,"  1762. 

"  Edwin's  Pills  to  Purge  Melancholy,  with  a 
Humorous  Account  of  Mr.  Siddon's  First  Reception  in 
Dublin,"  1783. 

An  Answer  to  the  Memoirs  of  Mrs.  Billington,  with 
the  Life  and  Adventures  of  Richard  Daly  .  .  . 
written  by  a  Gentleman  Well  Acquainted  with  Curious 
Anecdotes  of  all  Parties,"  1792. 

Periodicals. — 

Theatrical  Magazine  (The),  1806. 

Stage  (The),  1821. 

Theatrical  Observer  (The),  1821-2. 

Theatre  (The),  1822-3. 

Nolan's  Theatrical  Observer,  .1822-3. 

Irish  Playgoer  (Tlie),  1899-1900. 

Dublin  is  sadly  in  need  of  an  independent  theatrical 
Journal  like  the  latter  to  keep  the  stage  sweet  and  whole- 
some.   Why  is  not  such  a  one  started? 

The  Weekly  Theatrical  Reporter,  Nos.  1  to  8,  from 
Saturday,  April  25th,  1829,  to  Saturday,  June 
13th,  1829.     Published  in  Dublin. 

"  Commenting  on  the  state  of  the  Dublin  Theatre  under  the 
management  of  Mr.  Bunn  for  two  months  in  the  year  1829. 


GUIDE  TO  BOOKS  ON  IRELAND. 


A  faithful  account  of  the  disgraceful  manner  in  which  it 
was  conducted,  and  the  extraordinary  puffs  made  use  of 
to  mislead  the  opinions  of  the  public  by  G.  J.  B." 

Some  Articles  on  Irish  Dramatic  Movement,  etc. — 
Irish  Plays  and  Playwrights,  by  Charles  Tennyson — 

The  Quarterly  Review,  July,  1911. 

The  Rise  of  the  Irish  Theatre,  by  Charles  Tennyson 

— The  Contemiyorary  Revieic,  August,  1911. 

W.  B.  Yeats  and  Ireland,  by  John  McGrath — The 

Westminster  Reriew,  July,  1911. 

J.  il.  Synge  and  the  Ireland  of  his  Day,  by  W.  B.  Yeats 
— The  Forum,  August,  1911. 

Tlie  Synge  Boom — Foreign  Influence,  by  D.  J. 
O'Donoghue — The  Independent,  August  21,  1911. 

Lecture  on  the  Irish  Peasant,  by  Dr.  George  Sigerson 
— United  Irishman,  Febmary  17,  1906. 

Recent  Irish  Drama  and  its  Critics,  by  Rev.  George 
O'Neill,  S.J. — The  New  Ireland  Review,  March,  1906, 
and  also  an  article  in  June,  1899. 

Xeo-Paganism  and  the  Stage,  by  Michael  J.  Gill, 
B.A.— T/ie  New  Ireland  Review,  May,  1907. 

Mr.  W.  B.  Y^eats,  the  True  Interpreter  of  Irish  Mind, 
by  Alastair  Maguire — The  National  Student,  July, 
1911. 

Interview  with  J.  M.  Synge  re  The  Playboy,  by 
(A.  F.) — Dublin  Evening  Mail.  January  29,  1907. 

William  Butler  Yeats,  by  F.  Sidg^vick— Ti^e  Illiis- 
trated  English  Magazine,  June,  1903. 

John  Synge,  by  Mary  C.  Maguire. —  The  Irish  Re- 
view,  March,  1911. 

The  Abbev  Tlieatre.  bv  Jacob  Tonson  "  (Arnold 
Bennett)— T/?6  New  A(7e,  August  17.  1911. 

An  Uncommercial  Theatre,  by  Stephen  Gwynn — 
The  Fortnightly  Review,  December,  1902. 

Three  Centuries  of  the  Stage  Literature  of  Ireland,  by 
W.  A.  Henderson — The  New  Ireland  Revieic,  May, 
1897. 

The  Writings  of  Mr.  W.  B.  Yeats,  by  E.  M.  Duncan 
— The  Fortnightly  Review,  February,  1909. 


PROSE  LITERATURE. 


55 


Poetry  and  the  Stage,  by  Stephen  Gwyim— The  Fort- 
nightly  ' Review,  February,  1909. 
'  The  Irish  Peasant  and  the  Abbey  Theatre,  by 
Fred  Ryan  and  Padraic  Coluni. — The  Evening  Tele- 
graph, May  13,  20,  and  June  3,  1911. 

An  Autobiographical  Sketch,  by  Miss  Sara  Allgood. 

 The  St.  Patrick's  Day  No.  of  The  Weekly  Freeman, 

1909  (March  20). 

Dublin  as  a  Play  Producing  Centre,  by  W.  J. 
Lawrence.— The  Christmas  No.  of  The  Weekly  Free- 
man,  1907  (December  14). 

Some  Aspects  of  Our  Anglo-Irish  Poets.  Lecture  by 
the  Rev.  George  O'Neill,  SJ.—The  Irish  Catholic,  De- 
cember 23,  1911. 

The  Early  Work  of  Mr.  W.  B.  Yeats,  by  Forrest 
Reid. — The  Irish  Review,  January,  1912. 

Two  Plays  (Eleanor's  Enterprise  and  The  Countess 
Cathleen) :  A  Criticism  by  Captain  Bryan  Cooper. — 
The  Irish  Review,  January,  1912. 

Lady  Gregory  and  the  Abbey  Theatre,  by  John 
Qmim.— The  Outlook  (New  York),  December  IG,  1911. 

Some  Articles  on  the  Complete  Edition  of  J.  M.  Synge's 
Works. — 

Pall  Mall  Gazette,  January  16,  1911. 
Irish  Times,  January  23,  i911. 
Evening  Standard,  January  24,  1911. 
Morning  Post^  January  2G,  1911.      (By  Edmund 
Gosse.) 

Daily  News,  February  1,  1911.  (By  R.  A.  Scott 
James.) 

Daily  Chronicle,  February  4th,  1911.  (By  W.  P. 
Ryan). 

A  Few  Articles  in  The  Gael  (New  York). 

The  Irish  Literary  Theatre  in  iSTew  York  (The 
Heather  Field)— June,  1900. 

The  Irish  Stage,  by  Gcraldinc  M.  Haverty — Septem- 
ber and  October,  1900. 


66 


GUIDE  TO  BOOKS   ON  IRELAND. 


Literaiy  Theatre  Week  in  Dublin,  by  Alice  Milligan 
— December,  1901. 

New  Irish  Plavs  Produced  (Kathleen-ni-Houlihaii 
and  Deirdre)— May,  1902. 

An  Al  Fresco  Irish  Plav  in  Dublin  (Tlie  Tinker  and 
the  Fairy),  by  Mary  E.  L.  Butler— July,  1902. 

Irish  National  Theatre  (Riders  to  the  Sea.  etc.) — 
April,  1904. 


E. — Miscellaneous. 

It  may  be  tliouglit  that  some  of  the  books  inchidcd  in  this 
sub-section  ought  scarcely  to  be  chissecl  as  literature.  On  the 
other  hand,  when  the  list  of  headings,  is  examined,  these  books 
seem  to  fall  more  naturally  under  the  head  of  literature  than 
under  any  other. 

OXeary  (John).  What  Irishmen  Should  Read,  "What 
Irishmen  Should  Feel.  1886. 

I  have  not  been  able  to  sec  a  copy  of  this  pamphlet,  but 
understand  from  those  who  have  read  it  that  it  contains 
matter  of  considerable  fhterest  to  Irish  readers. 

r 

MacLeod  (Fioiia).  Collected*\Yorks.  Vol.  IV.  (Heine- 
mann).    5s.  net.  1910. 

Contains: — 1.  The  Bi'vine  Adventure — a  kind  of  Allegory 
(though  the  author .  would'  not  have  it  called  so)  ^of  the 
powers  of  the  human  soul,  and  2.  lona,  a  wonderful  piece 
of  imaginative,  or,  as  the  author  calls  it,  spiritual  history, 
i.e.,  the  history  which  "  reveals  inward  life,  and  hidden 
significance,  and  jyalpable  destiny."  I  shall  choose 
legend  and  remembrance,  and  my  own  and  other  memories 
and  associations,  and  knowledge  of  my  own  and  others,  and 
hidden  meanings,  and  beauty  and  strangeness  surviving 
in  dreams  and  imaginations,  rather  than  facts  and  figures." 

To  tell  the  story  of  lona  is  to  go  back  to  God  and  to 
end  in  God.  V  ' He  calls 'St.'  Cdlumba  the  *'  epitome  of  the 
Gael  "  and  Zona  the  "  Mecca  of  the  Gael."  . 

Yeats  (W.  B.).  A  Book  of  Images.  Drawn  by  W.  T. 
Horton  and  Introduced  bv  W.  B.  Yeats.  (Elkin 
Mathews).     2s.  Gd. 


PROSE  LITERATURE. 


Webb  (Alfred).    Thoughts  in  Retirement. 

A  series  of  detached,  pithy  aphorisms  on  subjects  which 
throughout  his  life  were  vital  to  Mr.  AYebb.  For  very 
maiiy  years  he  had  been,  tr^^asurer  to  t^ic  Nationalist  Party 
— one  *^of  the  most  unselfish  and  sterling  patriots  that 
Ireland  has  produced.  The  subjects  of  the  thoughts  are 
such  as  Democracy,  Bigotry,  Disunion,  Home  Rule,  Par- 
li£i men t a r i a nisrn ,  N a tion a  1  i t y . 

Stevenson  (John).  Pat  ilcCarty.  Farmer  of  Antrim. 
His  Rhymes,  with  a  Setting/  '  (Arnold).  1903. 

A  miscellany  of  prose  and  verse,  the  former  is  partly 
reflective  and  imaginative,  partly  narrative,  the  verse 
(mostly  in  dialect)  is  flowing  and  often  musical,  but  is 
not  ambitious.  Some  of  it  is  humorous.  Divisious  : — 
Home  and  the  Man,  Wife  and  AVeau,  The  AYinds  and  the 
Sea  (perhaps  the-  best  -ix^rtiou),  The  Flowers,  The  Abbey 
Tales  (foolish,  stories  of  old.  monks),  Blethers  (i.e.,  "  dcs 
betises '.'),  Love  (The  Coortin'  o'  Jeems  Mcllhagga  is 
good),  Life,  The  Earth  Thrill  (our  relations  with  inaniuiate 
nature),  Death.  The  author  shows  his  love  for  Ireland 
(i.e.,  the  land  but  perhaps  not  the  nation). 

Sajith  (John).  Irish  Diamonds ;  or.  A  Theory  of  Irish 
Wit  and  Blunders.  Post  8vo.  Scarce.  1847. 
With  Illustrations  by  Phiz. 

Sheehan  (Canon  P.  A.).  The  Intellectuals.  Pp.  vii. 
+  386.    (Longmans).    6s.  1911. 

The  proceedings  of  thirty-seven  sessions  .of  a  literary  Club 
established  in  a  town  in  the  South  of  Ireland  under  the 
chairmanship  of  a  Catholic  priest  and  composed  of  mem- 
bers of  different  nationalities  and  creeds  who  meet  to 
discuss  over  their  tea  various  questions  in  literature, 
science,  religion,  and  politics.  The  members  are  all  of 
the  middle-class,  rather  superior  in  tone,  and  have  little 
or  nothing  Irish  about  them.  There  are  not  a  few  touches 
of  satire  about  Irish  middle-class  provincial  life  and  Irish 
politics.  Parnell,  among  other  Irish  subjects,  is  discussed. 
Interspersed  with  essays  and  poems  after  the  manner  of 
the  "  Autocrat  of  the  Breakfast-Table."  Author's  object 
(see  preface)  to  show  that  all  the  racial  and  religious 
antagonisms  in  Ireland  may  be  ended  by  freer  and  more 
intelligent  intercourse  between  the  people  who  make  up  the 
Irish  Commonwealth. 


58 


GUIDE  TO  BOOKS   ON  IRELAND. 


Shaw  (George  Bernard).  John  Bull's  Other  Island. 
Preface  for  Politicians.  Pp.  lix.  (Constable). 
1907. 

George  Bernard  Shaw's  chief  pronouncement  on  Ireland. 
It  informs  the  Englishman  as  to  the  author's  own  inter- 
pretation of  his  play.  Contrasts  English  and  Irish  tem- 
peraments. Treats  of  the  characteristics  of  Irish  Pro- 
testantism, the  moral  and  social  effects  of  Irish 
Nationalism,  the  anomaly  of  foreign  government,  the 
attitude  of  Irish  Catholics  towards  their  Church  (sup- 
pressed hatred,  according  to  Mr.  Shaw),  the  folly  of 
militarism,  England's  Denshawai  atrocities,  etc.  All  in  a 
slashing  if  somewhat  paradoxical  style. 

RoTSTE  (Liam  de).  A  Message  to  the  Man.  (Cork: 
Shandon  Publishing  -Co.).    Is.  1908. 

A  work  of  exhortation  to  Irish  people  written  from  an  Irish- 
Ireland  standpoint  in  an  exalted  strain  that  is  not  seldom 
overdone.  Great  sincerity  is  the  best  characteristic  of  this 
lay  sermon. 

Plunkett  (Horace).  Noblesse  Oblige.  (Maunsel). 
Boards,  Is. ;  paper,  6d.  1908. 

A  work  calling  upon  the  Irish  upper  classes  to  take  their 
proper  part  in  the  regeneration  of  Ireland,  that  is,  in  those 
economic  movements  which  Sir  Horace  Plunkett  looks 
upon  as  the  only  ones  calculated  to  bring  about  such  a 
regeneration. 

Ca:mpbell  (Joseph).  Mearing  Stones.  (Maunsel). 
3s.  6d.  1911. 

Alias  Seosamh  MacCathmhaoil,  the  Poet  q.v.  "  Leaves 
from  my  note-book  on  tramp  in  Donegal  "  (Preface),  in 
form  of  detached  paragraphs  of  fragmentary  (but  often 
pregnant)  thoughts  and  impression  of  nature  or  of  life  as 
seen  with  a  poet's  eyes.  Couched  in  language  of  quaint 
simplicity  with  a  Gaelic  flavour.  Tells  how  small  things 
struck  him,  and  what  people  said  to  him  on  the  way.  In 
all  there  is  the  breath  of  the  open  air  and  the  atmosphere 
of  Donegal.  The  drawings  are  as  quaint  as  the  letter- 
press. 


PROSE  LiTEiRATUBE. 


59 


Hardy  (Philip  Dixon).  Pic-Nics  from  the  Dublin 
Penny  Journal.  Pp.  viii.  +  328.  10  wood  en- 
gravings. 1836. 

The  Dublin  Fenny  Journal^  before  it  was  ruined  by  Hardy, 
was  one  of  the  most  valuable  periodicals  that  had  appeared 
in  Ireland,  and  few  have  rivalled  it  since.  It  counted 
among  its  contributors  Petrie  (59  articles),  John  0 'Donovan, 
Sir  Wm.  Betham,  John  Banim,  Carleton,  Aubrey  de  Vere, 
Sir  W.  Rowan  Hamilton,  Crofton  Croker,  Ed.  Walsh,  Dr. 
Anster,  Samuel  Ferguson,  Mrs.  S.  C.  Hall,  Col.  Blacker, 
David  Herbison,  Samuel  Lover,  etc.  It  ran  weekly  from 
June,  1832,  to  June,  1836,  but  after  No.  57  it  is  of  little 
value. 

Halpine  (Charles  Graham).  Baked  Meats  of  the 
Funeral,  viii.,  3-378  pp.  12mo.  (Carleton,  New 
York).  1866. 

"  A  collection  of  essays,  poems,  speeches,  histories,  and 
banquets.  By  Private  Miles  O'Reilly  [z.e.,  Charles  G. 
Halpine  ^ 

Kelly  (J.  J.)  and  J.  P.  O'Byrne.  Irish  Varieties. 
Pp.111.    (Dublin:  Harrison).    Is.  1891. 

*'  Dedicated  without  permission  to  the  Vinegar-cruets  and 
Mustard-pots  of  Society."  Contents  : — Life  and  adven- 
tures of  Charley  Crofts — anecdotes  and  escapades  (Cork  in 
'98) — The  haps  and  mishaps  of  an  Irish  landlord — Major 
Dismal's  runaway  duel — The  friar  of  Dunraven's  musical 
tribulations,  with  an  exercise  for  the  French  horn  (Mrs. 
McGrath) — A  lesson  to  lovers — Home  Rule  (a  Farce). 


III.-POETRY. 

Some  general  remarks  regarding  this  section  will  be  found  on 
p.  xii. 

Collections  of  Irish  Poetry. 

This  sub-section  is  based  on  the  list  given  by  Mr.  D,  J. 
U'Donogliue  in  the  first  edition  of  his  Dictionary  of  the  Poets 
of  Ireland.     The  arrangement  is  chronological. 

Young  (Rev.  Dr.),  M.R.I. A.  Ancient  Gaelic  Poems, 
respecting  the  Race  of  the  Fians.  Collected  in  the 
Highlands  of  Scotland  in  1784,  with  English 
Translations.  4to.  6s.  Scarce.  (Dublin). 
1787. 

Stott  (Thomas).  Ancient  Irish  Poetry.  The  Songs 
of  Deardra,  translated  from  the  Irish,  with  other 
Poems.    (London).  1825. 

Brooke  (Charlotte).  Reliques  of  Irish  Poetry.  4to. 
(Dublin).    [4to.,  1788].    2  vols.    8vo.  1816. 

Translated  by  herself  from  the  Irish  into  the  eloquent  and 
formal  phraseology  of  the  period,  and  put  into  the  most 
artificial  and  elaborate  classical  and  other  metres.  Yet  by 
no  means  without  merit.  The  edition  of  1816  has  a 
memoir  by  A.  C.  Seymour. 

Hardiman  (James),  M.R.I.A.  Irish  Minstrelsy.  2 
large  vols.  Pp.  Ixxx.  +  376  +  435.  (London: 
Robins).    Beautifully  produced  vols.  1831. 

Gaelic  originals,  with  verse  translations  by  various  hands. 
Divided  thus — (1)  Eemains  of  Carolan,  (2)  Sentimental 
Song,  '(3)  Jacobite  Eelics,  (4)  Odes,  Elegies,  etc.  Intro- 
duction (pp.  xl.)  on  Irish  Minstrelsy.  Memoirs  of  Carolan 
and  of  Thomas  Furlong.  Copious  explanatory  notes  in 
very  readable  form  at  end  of  each  section.  The  transla- 
tions of  Carolan  are  done  by  Thomas  Furlong.  Most  of  the 
translations  read  well  in  English.  A  collection  of  great 
value  and  interest,  probably  the  most  valuable  ever  pub- 
lished. 


POETRY. 


61 


ROKER  (Thomas  Crofton).  Popular  Songs  of  Ireland. 
Pp.  320.  (Routledge).  Is.  [Morley's  Universal 
Library].    [1839].  1886. 

Chiefly  facetiae  contributed  to  various  magazines  (Black- 
tvoodsy  The  Sentimental  and  Masonic,  The  Cork  Southern 
Reporter,  etc.),  or  sung  on  festive  occasions,  at  the  end  of 
18th  and  begitining  of  19th  century,  by  Millikin,  Maginn, 
Rev.  John  Graham,  Lysaght,  and  by  various  anonymous 
writers.  Arranged  under  5  h^ads  : — (1)  St.  Patrick  (irre- 
verent and  absurd,  (2)  The  Potato,  (3)  Whiskey  (pp.  66- 
105),  (4)  The  Irish  Oak,  (5)  (pp.  llO-end)  Local  Songs. 
Apart  from  some  (not  all)  of  the  local  songs,  this  is  a 
repertory  of  what  has  come  to  be  known  as  the  stage 
Irishman,  i.e.,  as  described  by  Horatio  Sheafe  Krans,  *'  the 
Donnybrook  Fair  Irishman,  characterised  by  whiskey,  wit, 
a  Celtic  screech,  and  the  exhilarating  whack  of  the  shil- 
lalah."  Add  to  this  the  caubeen,  the  dudheen,  the  pig, 
the  pratie  and  the  brogue.  The  songs  are  accompanied  by 
a  commentary,  facetious  and  flippant  in  tone,  but  full  of 
curious  information. 

—  The  Keen  of  the  South  of  Ireland.  Pp.  Iviii.  + 
108.  (London:  Printed  for  the  Percy  SocietjO. 
1844. 

Subject  : — "  As  illustrative  of  Irish  political  and  domestic 
history,  manners,  music,  and  superstitions."  A  select 
anthology  of  laments  and  elegies  translated  from  the 
original  Irish  into  English  verse  by  the  editor  and  J.  J. 
Callanan.  The  latter 's  versions  are  good,  the  former's  of 
slight  merit.  The  editor  also  contributes  an  interesting 
and  valuable  introduction  explaining  sources  of  poems, 
giving  an  account  of  Irish  funeral  customs,  especially  the 
caoine.  Also  elaborate  notes  full  of  curious  information  about 
each  poem.  Contents  : — Lament  of  O'Gnive,  Two  poems 
by  Keating,  on  the  Miseries  of  Ireland  and  The  Exile's 
Farewell,  Keens  for  Maurice  Fitzgerald,  Felix  McCarthy, 
O 'Sullivan  Bearc  and  13  others,  some  quite  modern,  some 
more  ancient. 

For  Croker's  other  collections  see  under  History. 

The  Spirit  of  the  Nation.    1st  ed.,  1843;  55th.  1896; 
still  reprinted.  fDnffy). 

109  poems  by  the  writers  of  the  Nation — Davis,  Duffy, 
O'Hagan,  M.  J.  Barry,  McCarthy,  Williams,  etc. 


62 


GUIDE  TO  BOOKS   ON  IRELAND. 


Duffy  (Charles  Gavan).  Ballad  Poetry  of  Ireland. 
1st  ed.,  1843;  40th,  1869;  still  reprinted.  (Duffy). 
Is. 

"  Consists  neither  of  the  old  bardic  songs,  nor  of  the 
popular  street  ballads."  Good  selection  from  best  writers 
of  first  half  of  nineteenth  century.  Introductory  essay 
(pp.  38).  Includes  no  ballads  from  "  The  Spirit  of  the 
Nation  "  nor  from  Hardiman.     Subjects  all  Irish. 

Walsh  (Edward).  Reliques  of  Ancient  Jacobite 
Poetry,  etc.,  Translated  by  himself.  Pp.  120. 
(Dublin).  1844. 

The  songs  were  collected  by  John  O'Daly.  The  transla- 
tions are  musical  and  poetic.  They  include  old  favourites 
like  Mo  Craoibhin  Cno  and  The  Dawning  of  the  Day. 

Barry  (M.  J.).  The  Songs  of  Ireland.  Pp.  252. 
12nio.   (Duffy).   1846.   Still  reprinted.  Is. 

Davis's  Essay  on  Irish  Songs  is  printed  as  an  Introduction. 
This  is  a  companion  volume  to  Duffy's.  All  the  songs  are 
by  writers  of  the  first  half  of  the  19th  century.  They  are 
selected  from  various  published  collections.  Second  edition 
much  improved,  freed  from  objectionable  matter. 

McCarthy  (Denis  Florence).  The  Book  of  Irish 
Ballads.  (Duffy).  1846.  12mo.  Pp.  266. 
Still  reprinted  in  revised  form.  Is. 
A  companion  volume  to  Duffy's  "  Ballad  Poetry  "  and  sup- 
plementary to  it.  Was  revised  and  recast  by  the  editor  in 
1869.  Excludes  everything  not  strictly  a  Ballad  in  form 
or  sentiment.  All  the  poems  are  Irish  in  subject  and 
sentiment.  They  are  not  arranged  in  any  special  order. 
There  is  an  interesting  introduction  on  Ballad  Poetry  in 
general.  Many  of  the  poems  are  preceded  by  short  intro- 
ductory notes. 

Montgomery  (H  .R.)  Specimens  of  the  Early  Native 
Poetry  of  Ireland,  Translated  by  Various  Writers. 
(Hodges  &  Figgis).  1846.  *  1892.  Pp.  311. 
3s.  6d.  Introduction  and  commentary  by  the 
editor.    Still  in  print. 

The  writers  are,  chiefly,  Miss  Brooke,  Ferguson  and  Man- 
gan,  with  half  a  dozen  others.  The  poems  are  arranged 
chronologically  from  B.C.  500  to  1740,  or  so. 


POETRY. 


63 


Walsh  (Edward).  Irish  Popular  Songs,  Translated 
by  himself  .  Pp.  176.  (Dublin).  1847.  2nd 
ed.    (Gill).    1883.    Still  in  print,    (Gill).  Is. 

Introductory  rejnarks  by  Walsh  on  Irish  (Gaelic)  Popular 
Poetry  and  original  letters.  Irish  and  English  printed  on 
opposite  pages.  The  translations  show  considerable  poetic 
power,  and  have  been  much  admired.  The  author  knew 
Irish  well. 

Ellis  (Hercules).  Songs  of  Ireland.  Pp.  288. 
12nio.    (Duffy).  1849. 

Defines  a  song  as  a  minor  poem  which  does  not  exceed  in 
length  4  stanzas  or  40  lines.  Songlet — a  minor  poem,  con- 
taining not  more  than  100  syllables.  Romance — a  minor 
narrative  poem  longer  than  the  song.  Ballad — a  minor 
poem,  longer  than  the  song  and  not  narrative.  Last  two 
classes  excluded  from  this  vohime,  which  contains  over 
300  songs  from  50  Irish  poets. 

  Romances  and  Ballads  of  Ireland.  (Dublin). 

1850. 

See  the  preceding  item  for  Mr.  Ellis's  definition  of  these 
two  classes  of  poems. 

Mangan  (James  Clarence).  Poets  and  Poetry  of  Mun- 
ster.  Pp.  356.  (Duffv)  3s.  6d.  Four  or  five 
editions.    [1st,  I860]. 

Irish  songs  by  poets  of  the  last  century,  with  poetical 
translations  and  the  original  music.  Sketch  of  Mangan 
by  Rev.  C.  P.  Meehan,  and  Fragment  of  an  Unfinished 
Autobiography  by  Mangau.  Biographical  account  of  each 
of  the  poets.  Irish  text  given  in  each  case.  Mangan  seems 
not  to  have  known  Irish.  He  was  supplied  with  literal 
translations  by  John  O'Daly  and  others. 

Drummond  (Rev.  W.  Hamilton).  Ancient  Irish 
Minstrelsy,  Translated  bv  himself.  Pp.  292. 
(Dublin:  Hodges).  1852.' 

Preface  deals  with  MacPherson,  the  Fenian  cycle,  and 
preceding  collections  of  translated  Gaelic.  Gaelic  originals 
not  given,  nor  are  their  sources  and  authors  indicated. 
The  poems  are  narratives  of  the  Ossianic  or  Finn  cycle. 
Each  is  preceded  by  a  summary  of  the  tale.  Full  explana- 
tory notes.    The  verse  is  a  good  deal  varied. 


G4  GUIDE   TO  BOOKS   ON  IRELAND. 

Hayes  (Edward).  The  Ballads  of  Ireland.  1st  ed., 
1865.  (London).  12ino.  2  vols.  Present 
edition  (5th  or  6th).  2  vols.  8vo.  Over  400 
closely  printed  pages  each.  Notes,  Historical 
and  Biographical.    12  Illustrations.    Price,  5s. 

70  authors  represented;  many  anonymous  poems;  b}'  no 
means  all  the  poems  are  on  Irish  subjects.  Names"  like 
Francis  Brown,  Col.  Blacker,  J.  L.  Forrest,  John  Frazor 
(11  poems),  AY.  Kennedy,  Hon.  G.  S.  Smythe,  B.  Simmons 
15  poems),  John  Sterling,  G.  H.  Supple,  etc.,  are  repre- 
sented.   Contains  few  poems  written  after  18o0. 

Lover  (Samuel).  Lyrics  of  Ireland.  Pp.  409. 
(Ward  Lock).  Ilf.  by  Phiz,  Dalziel.  etc.  1st  ed., 
1858  ;  reprinted  1884,  etc. 

Poems  by  Sheridan,  Banim,  Griffin,  Davis,  Carleton,  Gold- 
smith, Waller,  Lever,  Ogle,  Lover,  Swift,  etc.,  and  some 
translations  from  the  Irish.  Divided  by  Subject  : — Con- 
vivial and  comic  (some  decidedly  stage-Irish),  Moral, 
Sentimental,  "etc.,  with  a  running  commentary  by  Lover 
throughout. 

SiGERSON  (George).  Poets  and  Poetry  of  Munster, 
translated  by  himself.  Second  Series  (the  1st 
being  Mangan's  q.v.).    (Dublin).  1860. 

Beautiful  translations,  poetic  in  themselves,  and  close 
imitations  of  the  originals. 

CoRRY  (T.  C.  S.),  M.D.  Ireland:  its  Scenery,  Music, 
and  Antiquities.  40  pp.,  30.  (Hodges  &  Smith). 
1868. 

The  first  17  pages  are  taken  up  by  a  very  brief  account 
of  the  chief  show^-places  in  Ireland.  The  rest  consists  of 
95  songs  by  all  sorts  of  writers,  many  of  them  not  included 
in  other  collections.    No  music  in  the  book. 

Varian  (Ealph).  1.  Popular  Poetry  of  Ireland. 
(Dublin).  2.  The  Harp  of  Erin.  (Dublin). 
1869. 

(1)  Editions  1865,  1873,  etc.     Pp.  250.    12mo.    Poems  by 
AUingham,  Brennan,  De'Vere,  Griffin,  Irwin,  Pi.  D.  Joyce 
(10),  Kickham,  Sigerson  (13),  Varian  (10).    The  other  40 
poets  are  mostly,  represented  by  single  pieces. 


POETRY. 


65 


Longfellow  (Henry  Wadsworth).  Poems  of  Places 
(31  vols.).  Ireland  (separate  vol.).  (Boston). 
1876-81. 

An  nnthologT  of  poems  by  various  authors  celebrating  the 
beauties  or  historic  and  legendary  associations  of  places  in 
Ireland. 

Lvra  Hibernica  Sacra.  Compiled  and  Edited  bv  tlie 
Rev.  W,  MacIwaine,  D.D.    Pp.  870.  187^." 

An  anthology  of  religious  verse  written  by  Irishmen.  In 
three  divisions  : — Sacred  Poems,  Hymns,  Sacred  Lyrics. 
Contains  English  translations  (original  Latin  in  Appendix) 
of  two  hymns  of  St.  Patrick,  three  by  St.  Columba,  one 
by  Sedulius,  one  by  0 'Carol an.  Kest  modern.  230  poems 
given;  nearly  80  authors  represented.  There  seems  to  be 
only  one  translation  from  the  Irish. 

Graves  CA.  P.).  Irish  Songs  of  Wit  and  Humour. 
Pp.  315.  (Chatto  &  Winclus\  2s.  Cid.  1st  ed., 
1884.    (Mayfair  Library). 

Divided — Love  Songs,  Drink  Songs,  Songs  of  Feasting  and 
Fighting,  Songs  of  Sport  and  Occupation,  Songs  of  Philc 
sophy,  Descriptive  Songs,  Political  and  Satirical  by  Lover, 
Moore,  x^llingham,  Graves,  Waller,  Lysaght,  etc.,  etc.  An 
excellent  selection. 

O'SuLLTVAN  (Deuis).     Popular  Songs  and  Ballads  of 
the  Emerald  Isle.    (N.Y.).  1880. 
Of  little  value. 

Williams  (Alfred  M.).  The  Poets  and  Poetry  of  Ire- 
land, with  Historical  and  Critical  Essays  and 
Notes.  Pp.  444.  (Boston:  Osgood^  1881. 
Distinctively  national  Irish  poetry,  presented  in  ordered 
series  from  the  earliest  times  to  date  of  publication.  Poetry 
of  Swift,  Goldsmith,  etc.,  who  wrote  exclusively  for  Eng- 
lish readers  is  entirely  omitted.  Divisions  : — The  Bards, 
81  pp.  (all  translations  from  Irish  by  well-known  writers). 
The  Hedge  Poets  (ditto).  Street  Ballads  (many  never  before 
printed  in  book),  Convivial  and  hiuTiorous.  Then  Moore 
(8  lyrics),  Callanan,  Banim,  the  Nation  poets,  Mangan, 
AUingham,  De  Vere,  Irwin,  Ferguson,  D.  F.  McCarthy, 
Graves.  Only  the  last  of  these  is  now  living.  Each  main 
division  is  introduced  by  an  essay,  thus — 22  pp.  on  the 
Bards,  9  on  the  Hedge  Poets,  etc.  The  selection  is  dis- 
criminating and  judicious. 

F 


66  GUIDE  TO  BOOKS   ON  IRELAND. 

The  Emerald  Wreath.  A  Collection  of  Irish  National 
Songs  and  Ballads.  Pp.  23.  (London :  Printed 
and  published  at  the  Hibernian  Press).  2d. 
paper.    C.  1883. 

Contains  no  less  than  84  ballads.  A  good  selection  of  the 
best  known,  with  a  few  less  familiar  (but  of  good  quality) 
by  Balfe,  McKowen,  Eliza  Cook,  O'Leary,  Falconer,  and 
others. 

Gems  from  the  Cork  Poets.  (Cork  :  J.  Barter)..  1883. 
Pp.  BIO. 

Includes  the  complete  works  of  Callanan,  Condon,  Daniel 
Casey,  Fitzgerald,  and  Cody,  with  elaborate  introductions 
and  notes. 

Sullivan  (T.  D.).    Emerald  Gems.  1885. 

Collins  (Charles  McCarth}').  Celtic  Irish  Songs  and 
Songwriters.  Pp.334.  (Dublin :  Cornish).  1885. 
Ranges  between  1600  and  1870.  Confined  to  authors  of 
undoubted  Celtic  descent.  No  living  author  included. 
Introductory  essay  (pp.  1-27)  on  Irish  bards  and  song- 
writers. Biographical  and  critical  accounts  of  poets 
(pp.  27-109),  Keating,  MacWard,  O'Dugan,  Carolan, 
O'Neachtain,  Concanen,  O'Hara,  Magrath,  etc.,  etc.,  as 
well  as  the  usual  Anglo-Irish  poets.  Divided  by 
subjects  : — Drinking,  Patriotic,  Love,  Songs  of  the  Affections. 
Some  of  the  poems  are  taken  from  previous  collections, 
some  gleaned  from  publications  very  difficult  of  access. 

Ballad  Poetrv  of  Ireland.  (Ford's  National  Library, 
N.Y.).  1886. 

Sparling  (H.  Hallidav).  Irish  Minstrelsv.  (Walter 
Scott).  1887.  Enlarged  1888,  and  since  re- 
issued in  various  forms  at  various  prices.  Pp. 
493.  (8vo). 

"  Aims  (1)  to  furnish  to  all  readers  a  fairly  adequate 
opportunity  of  judging  Irish  character,  (2)  to  provide  Irish 
readers  with  a  book  that  in  its  scope,  completeness  and 
accuracv,  may  be  found  worthv  to  take  rank  with  Duffy's 
"  Ballpd  Poetry  "  and  "  The  Spirit  of  the  Nation.'*  Every 
song  is  on  an  Irish  theme  and  clearly  Celtic  in  thought 
and  character."  As  far  as  possible  the  songs  chosen  are 
popular.    Interesting  introduction  and  bibliography. 


POETRY. 


Connolly  (Daniel).  liouseliold  Library  of  Ireland's 
Poets.  (N.Y.)  1887.  A  huge  quarto,  hand- 
somely bound.    774  pp. 

"  Full  and  choice  selections  from  Irish-American  poets," 
some  of  whom,  the  editor  admits,  are  "  but  remotely 
Irish."  Contains  biographical  notes  amounting  to  a  com- 
prehensive dictionary  of  authors.  "  All  available  means 
to  discover  good  fugitive  pieces  have  been  employed. 
Divided  according  to  subjects.  The  Affections,  Home  and 
Childhood,  Nature  and  Places,  Patriotism,  Labor,  Heroism, 
Moral  and  Religious,  Loss  and  Sorrow,  etc.  12  full-page 
portraits. 

New  Universal  Irish  Songbook.  fN.Y. :  P.  J. 
Kenedy).  1887. 


Madden  (Dr.  R.  R.). — Literary  Remains  of  the  United 
Irishmen.  Pp.  360.  1st  ed.,  1888;  still  reprinted. 
(Duffy).  Is. 

Of  slight  literary  value,  but  of  great  historical  interest. 
Collected  from  old  periodicals.  The  Press,  The  Northern 
Star,  The  Anti- Unionist,  etc.  Includes  poems  by  Drennan, 
Russell,  Orr,  Robert  Emmet,  James  Hope,  etc.,  etc.  Con- 
tains essay  on  authorship  of  "  The  Exile  of  Erin.'' 


RoLLESTON  (T.  W.),  ed.    Poems  and  Ballads  of  Yoimg 
Ireland.  1888. 

Collection  of  poems,  previouslv  re-published,  by  Yeats,  K. 
Tynan,  Todhunter,  Rolleston,  Hyde,  Fagan,  Rose  Kavanagh, 
etc.  Dedicated  in  verse  bv  editor  to  John  O'Leary.  (M. 
H.  Gill,  Dublin).     1888.    'is.  and  6d. 


Stritch  (A.  R.).    Lavs  and  Lvrics  of  the  Pan  Celtic 
Society.    Pp.  77.'   (Dublin).  1889. 

Youthful  verse  by  writers  who  have  since  made  their  name 
in  literature,  e.q..  A.  P.  Graves,  Douglas  Hvde,  Dora 
Sij::erson,  P.  J.  McCall.  Also  G.  C.  Pelly,  Rose  Kavanagh, 
Ellen  O'Leary,  Theresa  C.  Boylan  and  others.  The  Society 
was  "  non-political  and  non-sectarian.'* 


68  GUIDE  TO  BOOKS  ON  BRELAND. 

O'Reilly  (John  Boyle).    Poetry  and  Song  of  Ireland- 
(N.Y.)    2nd  ed.,  1889. 

A  Standard  Encyclopaedia  of  Erin's  Poetry  and  a 
biographical  portrait  gallery  of  her  poets."  Pp.  cxxi. 4-1028. 
A  huge  tome  nearly  3  inches  thick.  Rather  poor  paper 
and  print.  Long  introduction  on  Irish  poetry  with  choice 
bits,  100  engravings.  To  the  original  collection  of  the 
editor  the  publishers  have  added,  in  the  second  edition, 
over  200  pages  of  poems. 

Tynan  (Katharine).  Love  Songs  of  Ireland.  Pp.  118. 
Unwin,  Cameo  Series).  12mo.,  half -bound,  paper 
boards.    3s.  6d.    1892,  etc. 

The  name  of  the  editor  assures  us  that  all  herein  is 
exquisite  in  sentiment  and  in  literary  quality,  and  this  is 
the  case.  Includes  Mangan,  Ferguson,  Walsh,  de  Vere, 
Allingham  (not  Moore),  many  minor  poets  and  many  still 
living.  "  My  desire  was  to  make  a  book  of  Love-songs 
of  a  new  flavour  and  literary  in  a  fresh  way."  Hence  she 
rejects  verse  that  shows  too  much  the  English  influence. 

HiNKsoN  (H.  A.)  ed  — .  llublin  Verses  by  Living  Mem- 
bers of  Trinity  College,  Dublin.  Pp.  141.  Sq.  8vo. 
(Elkin  Mathews).    Bs.^  1894. 

The  edit-or  has  chosen  poems  "  which  show  an  Irish  rather 
than  an  English  influence  "  (Preface).  Hence  there  is 
little  of  the  academical  jeu  d' esprit  in  this  volume.  It 
borrows  little  from  the  pages  of  Kottahos.  Some  of  the 
best  modern  Irish  poets  are  represented.  Hyde,  Graves, 
Sir  S.  de  Vere,  Standish  O'Grady,  Lecky,  Dowden,  Count 
Plunkett,  Rolleston,  Todhunter,  Tyrrell,'  A  de  Vere,  etc. 

Yeats  (W.  B.).     A  Book  of  Irish  Verse.     Pp.  257. 
(Methuen).    3s.  6d.    1895,  1900,  etc. 

A  very  interesting  critical  introduction  by  editor.  Includes 
few  translations  from  Irish,  none  of  editor's  poems.  Very 
choice  in  literary  quality,  it  is  avowedly  a  selection  of  the 
editor's  special  favourites.  Includes  such  names  as  Gold- 
smith, Darley,  Doheny,  Emily  Bronte,  Oscar  Wilde, 
Rolleston,  Charles  Weekes,  Lionel  Johnson.  A  pleasant 
book  to  handle. 


POETRY. 


69 


Sharp  (Eliza  and  William).  LyraCeltica:  an  Antho- 
logy of  Representative  Celtic  Poetry,  edited  by 
Eliza  Sharp,  with  Introd.  and  Notes  by  William 
Sharp.  Pp.  li.  +  422.  (Edinb. :  Geddes).  Gs. 
Celtic  cover-design.  1896. 

An  anthology  intended  "  not  for  the  specialist  but  for  the 
lover  of  poetry,"  of  representatives  of  Celtic  poetry  from  the 
Ancient-Irish,  Alban-Gaelic,  Breton  and  Cymric  Poets  to 
the  youngest  Anglo-Celtic  Poets  of  to-day.  Aims  to  give 
"  not  the  finest  or  most  unquestionably  authentic  examples 
of  early  Celtic  poetry,  but  the  most  characteristic."  Mr. 
Sharp  regards  W.  B.  Yeats  as  pre-eminently  representative 
of  the  Celtic  genius  of  to-day.  Geo.  Meredith  occupies 
l)p.  283-91.  Ancient  Irish  and  Scottish,  pp.  1-41.  Modern 
Irish  poets,  87-184.  Introduction  deals  with  modern 
Celtic  renascence.  Notes,  pp.  375-422,  mainly  biographical. 
N.B. —  Unfortunately  the  work  is  somewhat  marred  by 
misprints. 

MacDermott  (Martin).  Songs  and  Ballads  of  Young 
Ireland.    Pp.  xxxi.  +  386.   (Downey).  2s.  189G. 

Long  and  interesting  historical  introduction.  At  end 
biographical  notes  and  portraits.  Of  the  160  poems  in  this 
collection,  one-third  belong  to  the  Spirit  of  the  Nation 
(supra.),  another  third  belongs  to  Duffy's,  MacCarthy's, 
and  Barry's  collections,  the  remainder  are  now  first  pub- 
lished by  the  editor.     All  are  from  the  Nation,* 

Paul  (W.  J.).  Modern  Irish  Poets.  2  vols.  Pp.  200 
+  198.  (Belast:  Mullan).  2s.  6d.  net  each. 
1894-97. 

*  *  It  is  my  opinion  that  at  no  period  in  the  history  of 
Ireland  have  we  had  so  great  poets  .  .  .  as  at  the 
present  day  "  (Preface).  Very  full,  chatty,  and  well- 
informed  accounts  of  seventy  contemporary  or  recent 
writers  of  verse,  together  with  specimens  of  their  writings. 
This  is  the  only  available  source  of  information  in  the 
case  of  the  great  majority  of  the  writers.  Notices  of  some 
notable  poets,  such  as  Katharine  Tynan  and  Dora  Sigerson, 
are  crowded  in  at  the  end,  no  specimens  of  their  work 
being  given,  owing  to  want  of  space. 

*  This  book  is  intended  to  supersede  "  The  New  Spirit  of  the 
Nation." 


70  GUIDE  TO  BOOKS  ON  IRELAND. 

SiGERSON  (George).  Bards  of  the  Gael  and  Gall. 
Pp.  432.  (Unwin  and  Gill).  2nd  ed.,  revised 
and  enlarged.  1907. 

"  An  Anthology  of  translated  Gaelic  poetry,  giving  in 
historical  series  specimens  of  verse,  from  the  earliest  known 
to  that  of  recent  times,  essaying  to  present  them  in  the 
exact  spirit,  form  and  structure  of  the  originals."  Very 
interesting  Preface  (13  pages).  Introduction  (pp.  21-107)  on 
the  origins,  extent,  influence  and  value  of  Gaelic  literature, 
and  with  a  critical  examination  of  tlie  metre  and  structure 
of  the  poems  included  in  the  volume.  Appendix  (pp.  377- 
432)  containing  notes  on  the  poems.  The  author  has  at 
his  command  a  great  wealth  of  erudition.  Altogether  the 
work  is  unique  and  invaluable. 

Brooke  (Stopford  A.)  and  T.  W.  Eolleston.  A  Trea- 
sury of  Irish  Poetry  in  the  English  Tongue.  Pp. 
xxxiv.  +  678.  (Smith  Elder).  7s.  6d.  1900 
and  1905. 

The  most  critical  and  scholarly  selection  yet  published. 
Admirable  survey  of  Irish  poetry  by  Stopford  Brooke  in 
Introduction.  Introductory  critical  notices  of  each  poet 
by  the  editors  and  by  Lionel  Johnson,  W.  B.  Yeats,  G. 
A.  Greene,  D.  J.  O'Donoghue,  Geo.  Sigerson,  Douglas 
Hyde,  Prof.  G.  F.  Savage-Armstrong,  A.  P.  Graves,  W. 
McN.  Dixon  and  A.E.  The  selection  is  very  comprehen- 
sive and  of  the  highest  literary  value.  Yet  there  are  some 
omissions,  the  poetry  of  Ethna  Carbery,  for  instance, 
finding  no  place. 

Welsh  (Charles).  A  Golden  Treasury  of  Irish  Songs 
and  Lyrics.     (New  York).  1906. 

Two  beautiful  volumes.  Selection  comprehensive  and  dis- 
criminating :  by  a  very  competent  litterateur. 

Russell  (George.  A.  E.").  New  Songs.  (Maunsel). 
[1st  ed.,  1908].     3rd  ed. 

A  selection  from  poems  by  some  young  Irish  writers  of 
the  new  movement,  viz.,  Padraic  Colum,  Alice  Milligan, 
Eva  Gore-Booth,  Seumas  O'Sullivan,  Susan  Mitchell,  Ella 
Young,  Geo.  Roberts,  and  Thomas  Keohler. 


POETRY. 


t1 


Kelly  (R.  J.).  Popular  and  patriotic  Poetry.  Issued 
by  the  C.T.S.  of  I.  in  6  penny  parts,  also  bound 
in  cloth  at  Is. 

A  little  work  of  the  greatest  importance  for  the  spreading 
of  national  ideas.    It  has  already  had  a  very  wide  sale. 

]\Ieyer  (Kuno).  Ancient  Irish  Poetry.  Pp.  xvi.  + 114. 
(Constable).    3s.  6d.  1911. 

A  number  of  literal  prose  translations  of  Old  Irish  poems 
of  the  6th  to-  the  10th  centuries.  Divisions: — Nature 
Poetry,  Myth  and  Saga,  Religious,  Love  Poetry,  Bardic, 
etc.  Acknowledged  by  the  most  competent  reviewers  to 
be  full  of  delicate  and  true  poetic  spirit,  love  for  nature, 
and  (in  many  cases}  human  sympathy.  A  good  selection. 
Preceded  by  a  short  account  of  old  Irish  literature. 

Brown  (Mary  J.).  Irish  Historical  Ballad  Poetry. 
About  240  pp.  (The  Educational  Co.  of  Ireland)- 
1912. 

The  poems  which  are  selected  from  the  writings  of  Irish 
poets  from  Moore  to  the  present  day,  are  arranged  in 
chronological  order  and  divided  into  five  periods.  Each 
poem  (except  in  a  few  cases  where  this  is  unnecessary) 
is  preceded  by  an  introductory  note,  short  but  accurate 
and  interesting.  Difficult  words  occurring  in  the  text  are 
explained.  A  good  selection  both  from  the  literary  and 
the  historical  point  of  view. 

Hyde  (Douglas).  The  Love  Songs  of  Connaught.  1st 
ed.     (Unwin  and  Gill).  1895. 

The  originals  are  given  with  the  translation  opposite.  The 
latter  is,  for  the  most  part,  in  verse.  Sometimes  literal 
translations  are  given  as  well.  Running  commentary  in 
Irish  and  English.    At  end  notes  grammatical  and  other. 

Hyde  (Douglas).  The  Religious  Songs  of  Connaught. 
2  vols.  Pp.  xvii.  +  404  and  420.  (Unwin). 
10s.  6d.  net.  1908. 

Poems,  stories  (prosci),  prayers,  satires,  ranns,  charms, 
blessings,  curses,  with  running  commentary.  Bilingual 
throughout.  No  order  or  arrangement.  "  I  have  put  down 
every  single  thing  I  came  across    .    .    .    just  as  I  myself 


7  a 


GUIDE  TO  BOOKS   ON  lUELAiS^D. 


got  them  from  the  mouths  of  shaiiachies  aud  old  people 
(Preface).    The  verse  is  translated  into  verse,  the  prose 
into  prose.    N.B. — In  a  work  of  this  kind  justice  cannot 
be  done  to  these  two  remarkable  works. 

Cooke  (John),  edited.  The  Dublin  Book  of  Irish 
Verse.  Pp.  804.  (Dublin:  Hodges,  Figgis;  and 
Oxford:  Henry  Frowde).  1909. 

Is  modelled  on  the  "  Oxford  Book  of  ]^nglish  Verse  "  and 
suffers  in  the  comparison.  Contains  540  poems,  arranged 
chronologically  up  to  recent  times.  Then  the  arrangement 
is  alphabetical.  No  biographical  or  critical  matter.  First 
poem  1766  (though  the  title-page  says  17*28).  The  most 
recent  writers  are  included  {e,g.,  Padraic  Colum,  Charles 
Weekes,  James  Stephens).  Indeed  nearly  half  the  book 
is  by  living  writers.  Editor  claims  to  have  made  "  a 
careful  and  independent  study  of  Irish  writers,"  and  aims 
to  make  this  selection  fully  representative.  This  aim  may 
fairly  be  admitted  to  have  been  carried  out  though  this 
involves  the  inclusion  of  much  indifferent  poetry.  Notes 
pp.  759-788.  Index  of  authors  and  of  first  hues.  There  is 
no  partisan  bias  of  any  kind  visible  in  the  selection. 

Sullivan  (T.  D.),  edited.  Irish  National  Poems  by 
Irish  Priests.    Pp.  88.     (Gill).  1911. 

Contains  such  names  as  : — Dr.  O'Doherty,  Kehoe,  Cahill, 
Dean  Kellv,  J.  J.  Murphy,  Abram  J.  Ryan,  P.  S.  Dineen, 
MacHale,*'?.  A.  Murray,  J.  D.  Walsh,  S.J.,  M.  Russell, 
S.J.,  J.  B.  Dollard,  father  Prout,  Canon  O'Hanlon. 
Note.—"  The  Priests  of  '98,"  bv  Revd.  Canon  Furlong, 
and  "  The-  Celtic  Tongue,"  by  Revd.  M.  Mullin. 

Eyes  of  Youth :  A  Book  of  Verse.  Pp.  94.  (Herbert 
and  Daniel).    3s.  Gd.  1911. 

By  Padraic  Colum,  Shane  Leslie,  and  others. 


SOME  COLLECTIONS  OF  ORANGE  POETRY. 

Johnston  (Williain).  The  Boyne  Book  of  Poetry  and 
Song.  Pp.  92.  (Uownpatrick :  "  Downshire  Pro- 
testant   Office).  1859. 

Dedicated  "  To  the  Orangemen  of  Ireland,  loyal  to  God 
.  and  the  Protestant  cause."    Begins  by  "  Twenty  reasons 


POETRY. 


for  being  an  Orangeman,  by  Revd.  Dr.  Drew."  The 
XVIth  is  Because  Jesuits  are  openly  tolerated  in  Great 
Britain  and  Ireland."  The  songs  themselves  are  full  of 
references  to  popery,  Jesuits,  etc.  They  have  but  slight 
literary  merit. 

Young  (Robert).  J^etical  Works.  Pp.  252.  (Lon- 
donderry). 18G3. 

Comprising  Historical,  Agricultural,  and  Miscellaneous 
Poems  and  Songs.  TJiis  is  a  selection  from  three  pre- 
viously published  volumes,  *'  The  Orange  Minstrel  or  Ulster 
Melodist"  (Derry),  1832;  "The  Ulster  Harmonist,"  1840 
and  "  Poems  and  Songs,"  1852.  The  author  (born  1800)  was 
known  as  "  The  Uermanagli  True  Blue."  He  was  a  nailer 
by  trade.  The  songs  celebrate  The  Battles  of  the  Boyne 
and  Aughrim,  The  Siege  of  Derry,  The  Union,  and  other 
Orange  anniversaries.  Is  fiercely  Orange  and  anti-Catholic. 
Contains  a  few  poems  by  other  writers,  e.g.,  The  Boyne 
Water,  The  Maiden  City,  etc.  Fully  annotated,  there 
being  30  closely  printed  pp.  of  notes  to  Rev.  John  Graham's 
fine  ballad,  "  The  Siege  of  Londonderry."  N.B. — "  The 
Ulster  Harmonist  contains  poems  by  other  authors  besides 
Young. 

Songs.  (Orange),  The  National  Orange  and  Protes- 
tant Minstrel.  Being  a  Collection  of  Constitu- 
tional and  Protestant  Songs,  Hymns,  Toasts,  Sen- 
timents, and  Recitations.  12mo.  Boards,  2  s.  6d. 
(Bradford).  1863. 

Songs.  (Orange).  A  Collection  of  Loyal  Songs,  as 
Sung  in  all  Loyal  Societies.  12mo.  Half  bound, 
curious  and  very  scarce.     5s.     (Dublin).  1801. 

Archer  (Bro.  William).  The  Marching  of  the  Lodges 
and  Orange  Melodies.  (Dublin :  Printed  by  James 
Forrest).  1869. 


Title  poem,  pp.  17-44;  notes,  44-74;  melodies,  pp.  75-246, 
with  notes.  Preceded  by  a  desertation  (sic)  on  lyrical 
poetry.    Contains  some  spirited  pieces. 


74 


GUIDE  TO  BOOKS  ON  IRELAND. 


SOME  POPULAR  SONG  BOOKS. 

Messrs.  M.  H.  Gill  &  Sons'  Song  Books. 

These  were  formerly  published  by  Cameron  and  Ferguson 
of  Glasgow.  They  are  paper  covered  and  cheaply  printed 
but  good  value  at  the  price.  They  contain  no  music,  and 
no  introductions  nor  notes  of  any  kind.  Price  3d.  : — '*  The 
Harp  of  Tara  S.B.,"  "  The  Wearing  of  the  Green  S.B.," 
"  Young  Ireland  S.B."  Price  4(1.  : — "  Emerald  Isle  S.B.," 
Exile  of  Erin  S.B."  At  6d.  :— "  Green  Flag  of  Ireland 
S.B.,"  "  Poems  and  Ballads  of  Young  Ireland,  1888."  At 
Is.  : — "  National  and  Historical  Ballads  of  Ireland,**  pp. 
370,  close  print.  They  formerly  published  other  collec- 
tions, excellent  for  the  most  part,  such  as  "  The  Cruskeen 
Lawn  S.B.,"  "  The  Cushla  Macree  S.B.,"  and  so  on. 

Song  Books  published  by  P.  J.  Kenedy  &  Sons,  New- 
York.  Universal  Irish  Songster.  Pp.  604.  76 
cents.     (Current  Catalogue). 

**  A  complete  collection  of  the  songs  and  ballads  of  Ireland 
and  cyclopaedia  of  Irish  poetry  by  the  best  authors, 
including  Moore,  Grifi&n,  Davis,  Lever,  Lover,  Lady 
Dufferin,  and  others."    50  engravings. 

•         Irish  National  Songster.     Pp.  360.      60  cents. 

(Current  Catalogue). 

*'  Containing  a  selection  of  sentimental,  patriotic,  and 
comic  songs,  including  all  of  Moore's  Irish  Melodies." 

  Faugh-a-Ballagh  Song  Book.  Pp.  180.  13  cents. 

(Current  Catalogue). 

"  Containing  a  fine  selection  of  Irish  national,  popular,  and 
comic  songs,  amusing  recitations  and  side-splitting  anec- 
dotes." 

 ■  The  Erin-go-Bragh  Songster.  Pp.  180.  13  cents. 

(Current  Catalogue). 

**  Containing  a  fine  selection  of  sentimental  songs, 
including  all  of  Moore's  Irish  jMelodies." 


POETRY. 


75 


B. — Works  of  Individual  Poets. 

The  following  is  not  a  Guide  to  the  works  of  Irish  poets,  but 
a  Guide  to  Irish  poetry,  taking  "  poetry  "  in  the  sense  of  verse 
reaching  a  certain  standard  of  literary  merit  and  ' '  Irish  ' '  in  the 
sense  that  it  speaks  of  Ireland,  deals  with  Irish  subjects.  With 
volumes  of  indifferent  verse  which  happen  to  have  been  written 
by  Irishmen  we  have,  with  an  exception  referred  to  below,  no 
concern  here,  though  from  several  points  of  view  it  would 
be  interesting  to  have  a  bibliography  including  also  such 
writings. 1  Nor  do  we  include  Irishmen  who  wrote  poetry — even 
true  poetry  on  almost  exclusively  non-Irish  themes.  Thus  one 
will  search  in  vain  for  such  names  as  Goldsmith  and  Sheridan 
in  the  past,  and,  in  recent  times,  Arthur  O'Shauglmessy,  \V.  E. 
H.  Lecky,  or  Dr.  Alexander,  though  a  few  poems  of  specially 
Irish  interest  are  to  be  found  among  their  works. 

Moreover,  even  from  among  poets  of  some  merit,  I  have  made 
a  selection  on  the  following  lines  : — 

(1)  .  I  have  omitted  those  writers  who  in  a  mass  of  undis- 

tinguished verse  have  written  some  few  pieces  worthy 
to  live.  These  are  sufficiently  represented  in  the 
anthologies. 

(2)  .  However,  I  have  thought  it  best  to  include  the  pub- 

lished volumes  of  all  living  wTit-ers  of  verse  dealing 
mainly  with  Irish  subjects. 

(3)  .  But  when  a  volume  or  volumes  containing  their  col- 

lected works  has  appeared  I  have  not  thought  it  useful 
in  every  case  to  give  the  name  of  each  separate  volume 
that  preceded  such  a  collected  edition. 

It  will  be  evident  from  some  of  the  names  included  that  the 
selection  has  not  been  unduly  exclusive.  For  the  notes  I  have 
freely  drawn  upon  the  admirable  essays  in  Brooke  and  EoUeston's 
"  Treasury  of  Irish  Poetry/'  which  may  be  regarded  as  the 
standard  critical  anthology.  Many  other  notes  (signed  T.W.E.) 
were  supplied  by  IMr.  T.  W.  Rolleston,  to  whom  I  cannot 
sufficiently  express  my  obligations.  For  the  arrangement,  the 
editor  is  alone  responsible.  Its  aim  is  to  group  the  poets  (when- 
ever possible)  according  to  the  main  subject  of  their  poetry, 
while  paying  as  much  attention  as  may  be  consistent  with  this 
first  object  to  the  claims  of  historical  sequence.  It  is  but  an 
experiment,  and  the  editor  is  conscious  of  its  many  drawbacks, 
but  he  trusts  it  may  be  found  useful. 

This  laborious  task  Mr.  D.  J.  O'Donoghue  (now  Librarian  of 
the  Library  of  University  College,  Dublin),  carried  out  in  the 
first  edition  of  his  Poets  of  Ireland,  and  is  carrying  out  in  a  still 
more  exhaustive  way  in  the  second.  A  notice  of  these  will  be 
found  on  p.  41. 


GUIDE  TO  BOOKS  ON  IRELAND. 


POETS  OF  THE  NATIONAL  STRUGGLE. 
Thouias  Moore. 

Iniiumerable  editions  of  his  poems  at  all  prices  and  in  all 
styles  have  appeared.  His  poems  fall  chiefly  under  the 
following  heads: — Juvenile  poems  (love);  Epistles,  Odes, 
etc.  (skits,  political  satires,  vers  d'occasion,  etc.);  "Irish 
Melodies  ";  "  Sacred  Songs  ";  "  Lalla  Rookh,  an  Oriental 
Poem":  "The  Twopenny  Post  Bag"  (short  humorous 
political  squibs):  "Trifles"  (jeux  d 'esprit*);  "Corruption 
and  Intolerance  "  (two  long  and  elaborate  satires).  They 
occupy  some  500  closely  priuted  8vo.  pages.  The  latest 
and  one  of  the  best  editions  of  his  works  is  referred  to 
below.  For  editions  of  the  Melodies  with  music  see  under 
"  Irish  Music." 

-  Poetical  works.  Oxford  Poets  Series.  (Frowde, 
Oxford  University  Press).  3s.  Gd.  1910.  Ed. 
by  A.  D.  Godley.  Reproduces  text  and  arrange- 
ment of  ed.  of  1811  printed  under  Moore's  super- 
vision. 

Extent  and  variety  of  Moore's  poetic  work — his  poems  form 
a  volume  of  596  closely  printed  8vo  pages.  Their  variety 
of  theme  may  be  judged  partly  from  the  list  of  subjects 
given  above,  partly  from  the  following  from  an  appreciation 
of  the  poet  by  Mr.  Stopford  Brooke  (in  B.  k  R.).  Speaking 
of  the  Melodies  alone,  he  says  : — "  These  songs  have  variety; 
they  touch  both  tragedy  and  comedy.  They  drink,  they 
dance  and  sing;  they  march  to  battle,  they  mourn  over 
the  dead;  they  follow  the  patriot  to  the  scaffold  and  to 
exile;  they  sing  the  scenery,  the  legends,  the  sorrows,  and 
the  mirth  of  Ireland.'*  It  must  be  remembered,  too,  that 
though  his  si^here  was  not  the  platform  or  the  Parliament 
House,  Moore  was  all  his  life  a  consistent  and  even  a 
courageous  patriot.  The  Melodies  are  full  of  the  wrongs  of 
Ireland;  the  satires  were  written  against  the  Governments 
that  misgoverned  her,  and  even  in  his  "  Lalla  Rookh  "  he 
was  not  unmindful  of  her,  for  "  The  Fireworshippers  "  is  a 
covert  allegory  in  which  an  Irishman  may  read  the  story 
of  his  country's  sufferings  and  struggles. 


N.B. — An  account  of  various  editions  of  Moore's  Melodies 
will  be  found  in  the  Music  Section,  on  page  133. 


POETRY. 


77 


(b)  The  Poets  of    The  Nation^ 

They  mingled,"  says  W.  B.  Yeats,  "  a  little  learned  from 
the  Gaelic  ballad  writers  with  a  great  deal  learned  from  Scott, 
Macaulaj  and  Campbell." 

Davis  (Thomas).  Poems  collected  and  edited  with 
excellent  introduction  by  T.  Wallis.  (Duffy). 
1846.    Frequently  reprinted. 

Written  from  1842-5  (the  last  three  years  of  his  life)  for 
the  Nation,  His  poems  are  for  the  most  part  stirrinor 
lyrics  full  of  fire  and  patriotism,  many  of  them  inspired 
by  the  political  ideas  and  emotions  of  the  time.  Anion o; 
the  best  are  Lament  for  Owen  Koe,"  "  Fontenoy," 
**  Nationality,"  "  The  West's  Asleep,"  "  My  Land."  He 
is  very  generally  considered  as  the  national  poet  par  excel- 
lence. Messrs.  Gill  in  1907  published  a  cheap  reprint  at 
6d.  and  Is.,  pp.  96,  close  print. 

Williams  (Richard  Dalton).  Complete  Poetical 
Works  collected  and  edited  by  P.  A.  SiUard,  with 
an  excellent  Introduction.  (Duffy).  Is.  Pp. 
334.    1894.    Several  editions  since. 

Died  1862.  With  much  grace,  pathos  and  energy,  he  had 
the  "  fatal  facility  "  of  many  Irish  verse  writers.  Of  liis 
poems  many  are  inspired  by  various  events  in  Irish  history, 
others  by  political  evonts.  There  are  a  number  of  excellent 
humorous  poems.  The  remainder  of  the  volume  is  made 
up  of  love-songs  and  miscellaneous  poems,  some  of  them 
religious. 

Kelly  (Mary;  "Eva":  Mrs.  Kevin  Izod  O'Dohertv). 
Poems.  Pp.  144.  (Gill).  2s,  [1st  ed.,  c.  1870]. 
New  ed.,  1909. 

Introduction  by  Seumas  MacManus  and  biographical  notice 
by  Justin  McCarthy.  Contains  80  selected  pieces,  some 
patriotic,  most  of  them  about  Ireland — "  Men  in  Jail  for 
Ireland,"  "  Tipperary,"  "  Our  True  Men,"  "  To  Erin,"  a 
few  dealing  with  France,  and  a  few  with  Australia,  trans- 
lations from  the  Irish,  and  from  the  French  of  Victor 
Hugo  and  Beranger, 


78 


GUIDE  TO  BOOKS   ON  IRELAND. 


Keegan  (John).  Legends  and  Poems.  Pp.  552. 
(Sealy  Bryers).    3s.  6d.  1907. 

His  poems  are  usually  more  distinguished  for  the  sim- 

-  plicity  and  pathetic  grace  of  the  *  Dark  Girl  '  than  for  the 
rough  energy  which  marks  his  '  Harvest  Hymn  to  the 
Virgin.'  "  The  poems  occupy  pp.  493-552  of  this  volume, 
for  full  account  of  which  see  "  Eeaders'  Guide  to  Irish 
Fiction,"  1st  edition,  p.  86. 

]\roGEE  (T.  Darcy).  Collected  Poems.  Edited  with 
Notes  and  feiographv  bv  Mrs.  Sadlior.  (New 
York:  Sadleir.)  1870. 

Of  all  the  rhetorical  qualities  of  poetry — rhythm  and  phrase 
and  picturesque  diction — McGee  possessed  a  greater  measure 
than  any  other  of  the  Nation  poets.    But  he  wrote  with  a 

-  careless  energy  which,  if  it  always  produced  something 
remarkable,  yet  rarely  left  it  strong  and  finished  in  every 
part.  Died,  1868  (B.  &  R.).  Mr.  D.  J.  O'Donoghue, 
Librarian  of  the  National  University,  intends  to  bring  out 
shortly  a  new  edition  of  McGee 's  poems  including  matter, 
not  hitherto  published  and  omitting  much  of  the  inferior 
work  contained  in  the  above  collection 

McCarthy  (Denis  Florence).  1st  collected  ed.  of  his 
work,  Ballads,  Poems,  and  Lyrics,"  1850. 
Poems,  edited  with  biographical  preface  by  John 
McCarthy  (the  poet's  son).    (Gill).  1882. 

This  volume  includes  most  of  his  poems  published  in 
previous  volumes,  but  omits  his  humorous  pieces  and  many 
of  his  national  pieces.  The  poems  it  contains  include 
Ballads  and  Lyrics,  Ferdiah,"  a  long  episode  translated 
from  the  Tain,  "  The  Vovage  of  St.  Brendan  "  (21  pp.),  and 
other  narrative  poems.  National  poems.  "  Underglimpses,'* 
two  Centenary  Ocles  (O'Connell  and  Moore),  and  miscel- 
laneous poems.  He  also  published  several  volumes  of 
translations  from  Calderon.  *'  His  imagination  dwelt  on 
the  sweet  and  gracious  aspects  of  life  and  nature,  and 
these  he  rendered  in  verse  marked  bv  sincere  feeling,  wide 
culture,  and  careful,  though  unpret-entious,  art."  Died,  1882. 

Wilde  (Ladv  Speranza  ").  The  Poetical  Works  of. 
(Gill).  '2s.    [1st  published  1864].    New  ed.,  1907. 

Nearly  a  third  of  this  volume  is  taken  up  by  her  national 
and  patriotic  poems;  the  rest  is  divided  between  personal 


POETRY. 


79 


or  reflective  poems  and  "  Wanderings  through  European 
Literature."  Her  Irish  poems  are  full  of  passionate 
rhetoric  and  patriotism.  Some  of  the  best  are — "  To  Ire- 
land," "  The  Brothers  "  ('98),  "  The  Famine  Year  "  (and 
other  poems  on  the  Famine),  "  Signs  of  the  Times,"  *'To 
a  Despondent  Nationalist."  N.B.— This  edition  is  en- 
tirely without  annotations,  introduction,  or  preface.  It 
was  originally  brought  out  by  Cameron  and  Ferguson. 

Other  ''Nation''  poets  were  John  O'Hagan,  Charles  Gavan 
DuiTY,  Ellen  Downing  {''Mary''  of  the  Nation),  and  M.  J. 
Barry.    These  are  well  represented  in  the  Anthologies. 

(c)  'Fenian  Poets. 

O'Leary  (Ellen).  Lays  of  Country,  Home,  and 
Friends.  (Sealy  Bryers).  Is.  Introductory 
Notice  by  T.  W.  Rolleston.  1891. 

A  Fenian  poetess  (1831-1889).  *'  Simple  field-flowers  which 
blossomed  above  the  subterranean  workings  of  a  grim  con- 
spiracy." Her  ^'  To  God  and  Ireland  True  "  is  very  well 
known.  This  edition  contains  portrait  and  memoir,  and 
an  introduction  by  Sir  Charles  Gavan  Duffy.    She  died,  1889. 

Casey  (John  Keegan  *'Leo").  The  Rising  of  the 
Moon,  and  other  National  Songs  and  Poems. 
(Gill).    Is.  1907. 

A  young  Fenian  poet  (he  died,  aged  23,  in  1870)  whose 
poems  are  characterised  by  "  fire  and  sweetness.'* 

Shorsa  (May).  Love  Letters  of  a  Fenian.  Pp.  63. 
(Gill).  1901. 

Literary  and  full  of  feeling.  All,  except  the  last,  in  the 
same  curious  metre  : — "  Show  me  my  duty,  Teach  me  to 
be  always  true,'*  rhyming  a  a  b  a  b  b. 

C.  J.  KiCKHAM  was  another  Fenian  poet,  and  a  good  one,  hut 
his  poems  have  never  been  collected. 

(d)  The  Modern  Political  Struggle. 

Sullivan  (T.  D.).  1.  Dunboy  and  other  Poems.  1868. 
2,  Green  Leaves.  1879.  3.  Lays  of  the  Land 
League.  1887.  4.  Songs  and  Poems:  Satirical, 
Political^  Lj^ric.   Sealy  Bryers.)    Is,    1888.  6. 


80 


GUIDE  TO  ROOKS   ON  IRELAND. 


Prison  Poems  and  Lays  of  Tullamore.  1888.  6. 
Blanaid,  and  other  Poems.  (Eason.)  Pp.  190. 
1892.  7.  Evergreen.  fSealy  Bryers.)  Is.  Pp. 
194.  1908. 

His  poems  consist  of  racy  political  satires  written  in  catch- 
ing rhythms,  more  serious  patriotic  poems,  historical  poems, 
such  as  "  Dunboy,"  and,  as  in  "  Blanaid,"  legendary  roman- 
ces  of  Ireland  (Cuchullin,  Ossian,  Kiug  Conor  MacNessa). 
Some  of  his  ballads  aie  wonderfully  popular.  No.  4.  above, 
deals  with  various  phases  and  incidents  of  the  National 
movement  from  '48  to  present  time. 

A  volume  of  Selections  was  published  bv  the  author  in 
1898.  New  edition,  1907.    (Sealy,  Bryers). '  Pp.  210.  12mo. 

Davis  (Francis,  the  Belfastman).  Poems  and  Songs. 
Pp.  xxvii.  +  638.    (Belfast:  Greer).  1878. 

Introductory  essay  by  the  Eev.  Columban  0 'Grady,  CP. 
The  poems  consist  of  "  Leaves  from  among  the  people  : 
under  ths  smoke  and  over  the  dew,"  Patiiotic  poems, 
Sacred  poems,  Miscellaneous  poems,  very  varied  In  character. 

O'DoNNELL  (John  Francis).  Poems  published  bv  tlie 
Southwark  Irish  Literary  Club.  Pp.  256.  1891. 
Patriotic,  historical  and  political  poems,  full  of  fire  and 
spirit,  but  hastily  written,  and  in  few  cases  highly  finished. 
Also  songs  and  ballads  dealing  with  non-controversial  Irish 
subjects,  such  as  his  exquisite  "  Spinning  Song,"  also 
poems  on  Irish  scenerv,  antiquities,  history.  Introduction 
by  Richard  Dowling.  '^The  poet  died,  1873! 

Reliques  of  Barney  Maglone  (i.e,,  R.  A.  Wilson),  ed. 
by  F.  J.  Bigger  and  J.  S.  Crone,  with  Introductory 
Memoir  bv  D.  J.  O'Donoghue.  Pp.  xii.  +  75. 
(Belfast:  Dargan).  1894. 

Wilson  (1820-1875)  was  an  Enniskillen  journalist,  born  in 
Donegal.  He  was  an  eccentric  and  erratic  genius,  very 
well  known  all  over  Ulster,  where  his  writings  exercised 
great  influence.  He  was  a  Nationalist,  knew  Irish,  and 
had  true  sympathy  with  the  people.  Of  his  prolific  writings 
only  these  few  poems  have  been  preserved  in  book  form. 
Most  of  his  work  was  too  hasty  and  topical  to  last.  Some 
of  these  are  in  dialect.  All  have  qualities  peculiar  to  the 
writer.  "  To  Ireland,"  "  My  own  ould  Irish  Home,"  "  The 
Cottage  of  Tyrone,"  *'  A  Song  for  '69,"  "  B.6shm  binn  na 


I'OKTRY. 


81 


ncllian,''  "  Doiin  realt  mo  chree,"  Love  of  Erin/'  Ou 
Lough  Erne,"  and  so  ou. 

We  might  mention  here  "  Songs  of  the  Rising  Nation  "  (1869), 
by  Ellen  and  Arthur  Forrester,  and  Derrynane  and  other 
poems  (1863),  by  Ellen  Fitzsimon,  eldest  daughter  of  Daniel 
O'ConneU. 

ie)  Historical. 

Joyce  (Robert  Dwyer).  BiiUads  of  Irish  Chivalry, 
edited  by  his  brother,  Dr.  P.  W.  Joyce.  (Gill.) 
2s.  1908. 

Many  of  these  were  written  about  1861.  They  include 
legends  of  the  Galt^es,  Tipperary,  Limerick,  and  Cork — 
stirring  ballads  of  Anglo-Irish  wars,  carefully  annotated  by 
Dr.  Joyce.  His  songs  are  eminently  singable.  The  reader 
is  referred  for  the  airs  to  the  editor's  collections.  Four 
good  illustrations,  and  handsome  binding. 

Lawless  (Emily).  With  the  Wild  Geese.  (Pitman). 
4s.  6d.  1902. 

Mostly  poems  of  Ireland  in  18th  century  (at  home  and 
abroad) — Cremona,  Fontenoy,  etc.,  but  there  are  some  on 
other  themes,  meditative  in  character.  There  is  the  breath 
of  the  Atlantic  about  many  of  her  poems.  Like  Le  Fanu, 
Miss  Lawless  may  be  described  as  "  a  rebel  when  she 
writes  verse,"  but  only  then. 

O'Neill  (William),  Slieve  Margy."  Lays  of  Leix. 
Pp.  100.  16mo,  (Sealy  Biyers).  1903. 
Dedicated  to  Carlow  Branch  of  Gaelic  League.  National 
poems,  historical  and  patriotic,  somewhat  in  the  manner 
of  the  Nation  poets.  Versification  at  times  faulty, 
and  tone  sometimes  near  to  prose,  but  written  with  much 
spirit  and  verve. 

De  Vere  (Aubrey  T.).  Inisfail,  a  Lyrical  Chronicle 
of  Ireland,  and  other  Poems.  (Burns  &  Gates.) 
5s.    1st  ed.,  1861. 

"  Its  aim  is  to  embody  the  essence  of  a  nation's  history 
(the  author).  Each  epoch  is  illustrated  by  a  representative 
poem  or  event.  At  one  time  a  victory  is  celebrated  by  a 
swinging  ballad,  at  another  a  dirge  laments  a  defeat.  The 
metre  is  varied  to  suit  the  mood  or  the  emotion  called 
forth  by  the  event. 

G 


82 


GUIDE  TO  BOOKS  ON  IRELAND. 


I  have  not  classed  the  following  poets  in  any  group.  Some 
are  sui  genesis,  the  work  of  others  so  varied  as  not  to  admit  of 
ready  classification. 

Griffin  (Gerald).  Poetical  and  Dramatic  Works. 
Pp.  393.  (Duffy).  2s.  [1857].  Several  editions 
since.    New  ed.,  1907. 

"  In  poetry,  his  longer  pieces  fail  in  freshness,  vigour  and 
local  colour;  they  are  conventional  compositions.  .  .  . 
In  his  lyrics,  however,  .  .  .  he  is  at  his  best,  im- 
passioned at  times  (though  never  passionate),  tender, 
delicate,  yet  strong,  with  a  certain  dramatic  grasp  of  his 
subject." — Dr.  Sigerson. 


Mangan  (James  Clarence).  The  Poems  of.  Ed.  by 
D.  J.  O'Donoghue.  (Gill  and  O'Donoghue). 
3s.  6d.  net.  With  the  famous  Introduction  by 
John  Mitchel.    1st  ed.,  1859.  1908. 

This  may  be  considered  the  final  edition  of  Mangan 's 
poems,  but  "  Poets  and  Poetry  of  Munster,"  a  volume  of 
translations  edited  by  John  O'Daly  (1850)  is  still  popular 
and  is  in  its  3rd  edition.  (Duffy),  as.  6d.  1897.  See  Lionel 
Johnson's  essay  in  Brooke  and  Rolleston's  "  Treasury, 
etc."  His  poetry  falls  under  four  chief  heads. — 1.  Trans- 
lations from  the  Gaelic,  his  best  work.  2.  Those  from  the 
German  Anthology,  2  vols.  (Duffy),  2s.  3.  Poems  inspired 
by  Oriental  originals.  4.  Original.  His  greatest  poems  are 
"  Dark  Rosaleen,"  "  O'Hussey's  Ode  to  the  Maguire," 
"Lament  for  the  Princess,"  "Kathleen  Ni  Houlahan," 
and  "  The  Nameless  One." 

  Poems,  selected  and  edited  by  Louise  Imogen 

Guiney.    Pp.  361.    (Lane).  1897. 

Contains  a  study  of  Mangan  by  the  editor  (112  pp.)  and 
20  pp.  of  notes  on  the  poems.    Nicely  printed  and  bound. 


Le  Fanu  (Sheridan).    Ed.  by  A.  P.  Graves.  Poems. 
(London:  Downej^)  18*96. 

"  Became   a  rebel  whenever  he   wrote  verse."     "  His 
Legend  of  the  Glaive  shows  the  weird  and  romantic  touch 
which  he  had  at  command."    His  "  Shemus  O'Brien  "  is 
very  well  known.    Le  Fanu  died  in  1873. 


POETRY. 


83 


Irwin  (Thomas  Caulfield).  I.  Irish  Poems  and 
Legends.  (Glasgow.)  Is.  1869.  2.  Songs  and 
Romances.  (Dublin).  Is.  1878.  3.  Pictures 
and  Songs.  (Dublin).  Is.  1880.  4.  Sonnets  on 
the  Poetry  and  Problem  of  Life.  (Dublin).  1881. 
5.  Poems,  Sketches,  and  Songs.    (Dublin).  1889. 

No  representative  selection  of  his  poems  has  yet  been 
published.  Irwin  is  considered  one  of  the  best  Irish  poets 
of  the  century.  He  was  possessed  of  wide  culture, 
especially  in  continental  literature.  He  had  imagination 
and  music,  and  was  a  keen  observer  of  men  and  nature. 
But  his  besetting  sin  is  diffuseness,  and  much  of  what  he 
published  is  a  waste  of  words.  His  poems  are  lyrical, 
reflective  and  imaginative,  not  political  or  rhetorical.  He 
died  in  1892.  No.  1  above  consists  of  1st,  historical  poems, 
2nd,  poems  "  reflecting  the  feelings  and  scenery  of  the 
Race  and  Land,"  in  all  146  pp.  close  print,  followed  by 
notes. 


Fahy  (Francis  A,)  Irish  Songs  and  Poems.  1887. 
His  verses  are  marked  by  much  humour  and  grace.  His 
songs,  of  which  a  large  number  are  "well  known  favourites 
in  concert-rooms,  have  the  merit  of  being  eminently 
singable,  e.g.,  "  The  Ould  Plaid  Shawl,"  "  Irish  Molly  0," 
The  Donovans." 


Johnson  (Lionel).  1.  Poems.  (Mathews).  1895. 
xi.  +  116  pp.  2.  Ireland,  and  other  Poems. 
(Mathews).    1897.    132  pp. 

The  Irish  contents  of  1.  are  Parnell,"  "  To  Weep  Irish," 
Celtic  Speech,"  "  Ireland's  Dead,"  "  St.  Columba,"  and 
two  others.  Born  about  1867  of  a  Sligo  family.  Educated 
in  Winchester  and  Oxford.  He  afterwards  became  a 
Catholic,  and  thenceforward,  though  he  lived  in  London, 
his  ideas  were  centred  in  Ireland,  in  the  Fathers  of  the 
Church,  and  the  masters  of  literature.  His  learning  might 
without  exaggeration  be  described  as  colossal.  He  had  a  pro- 
found knowledge  of  religious  writers,  while  in  Early  English 
and  Elizabethan  literature,  in  the  classics,  in  highways  and 
byways  of  Irish  lore,  and  with  the  great  figures  of  the 
Middle  Ages,  he  was  equally  at  home.  His  Irish  enthusiasm 
grew  with  the  years,  and  he  was  among  the  first  to  welcome 
and    to   work    for    the   Gaelic   League.     "  Mr.  Lionel 


84 


GUIDE  TO  BOOKS  ON  IRELAND. 


Johnson,"  says  W.  B.  Yeats  (in  B.  &  K.)  "  has  in  his 
poetry  completed  the  trinity  of  the  spiritual  virtues  by 
adding  Stoicism  to  Ecstacy  and  Asceticism.  lie  has 
renounced  the  world  and  built  up  a  twilight  world  instead, 
-^^'here  all  the  colours  are  like  the  colours  of  the  rainbow 
that  is  cast  by  the  moon,  and  all  the  people  as  far  from 
modern  tumults  as  the  people  upon  fading  and  dropping 
tapestries."  The  above,  including  the  quotation,  is  taken 
from  a  sympathetic  and  discerning  article  in  '^I.L."^ 


RoLLESTON    (T.    W.).    S(ja   Spray.    (Maunsel).  Is. 
1909. 

28  little  poems  of  very  varied  type.  Includes,  "  To  John 
O'Leary,"  "  The  Dead  at  Clonmacnois  "  (from  the  Irish), 
Cois  na  teineadh/'  A  Cycling  Song,"  with  a  number  of 
translations  from  the  Greek  and  German.  Each  is  very 
perfect  of  its  kind. 


IJe  Veke  (Sir  Aubrey).  The  Lameiitatiun  of  Ireland. 
1823.  A  Song  of  Faith,  Devout  Exercises,  and 
Sonnets.  1842.  Sonnets,  ed.  by  his  son,  Aubrey 
T.  de  Vere.  1875. 

His  sonnets,  dealing  with  events  in  Irish  history  and  scenes 
of  Irish  landscape,  were  described  by  Wordsworth  as  **  the 
most  perfect  of  our  age."  His  "  Lamentation  "  is  full  of 
love  for  Ireland.  So  are  his  sonnets  such  as  *'  Lismore," 
The  Soldiers  of  Sarsfield,"  "  The  Shannon,"  "  The  Rock 
of  Cashel."  He  was  born  in  Limerick  in  1788,  and  was 
of  the  Church  of  Ireland.  His  three  sons  became  Catholics. 
Besides  his  Irish  works  he  published  dramas,  notably 
"  Mary  Tudor,"  and  miscellaneous  poems. 


De  Vere  (Aubrey  T.).  Poems.  Selected  by  Lady 
Margaret  Domvile.  Pp.  xx.  +  183.  12ino. 
(O.T.S.).    2s.  net.  1904. 

Division  :  Early  poems  (4  in  all) ;  Picligious  poems  (pp. 
15-56);  Irish  poems  (pp.  57-112);  Sonnets;  Memorial 
Sonnets;  Miscellaneous.  Aubrey  de  Vere  has  been  well 
called  "  the  most  spiritual  of  our  intellectual  poets."  He 

^Irish  Literature,  ed.  McCarthy;  see  p.  1. 


rOT-lTRY. 


85 


was  a  disciple  of  Wordsworth.  The  absence  from  his 
poetry  of  the  sensuous  and  passionate  element  has  taken 
much  from  its  popularity.  It  is  austere,  full  of  moral 
grandeur,  distinguished  and  often  striking  in  language.  Mr. 
Macneile  Dixon  (in  B.  &  R.)  speaks  of  it  as  "  characterised 
by  its  singular  aloofness  from  contemporary  thought  and 
feeling,  by  its  impersonality,  and  by  its  dramatic  method 
and  character."  The  poet,  born  in  1814,  became  a  Catholic 
in  1851,  and  after  that  date  a  great  part  of  his  poetry  is 
inspired  by  the  history,  legends,  and  ideals  of  the  Church, 
e.g.y  his  "  Legends  and  Records  of  the  Church  and  the 
Empire  "  (1887),  "  Medieval  Records  and  Sonnets  "  (1893), 
*^St.  Pet-er's  Chains  "  (1888),  "  May  Carols  "  (1857),  etc., 
etc.    He  died  in  1902. 

—  Legends  of  St.  Patrick  and  other  Poems.  Pp. 
xxviii.  +  248.  (Burns  &  Gates).  5s.  1st  ed., 
1872. 

Very  interesting  Preface  dealing  with  the  relations  between 
St.  Patrick,  the  Irish  people,  and  Christianity,  together 
with  some  remarks  on  religious  poetry.  Legends  taken 
from  ancient  lives  of  St.  Patrick  and  worked  into  poetic 
form,  e.g.,  "  The  Baptism  of  St.  Patrick,"  "  The  Disbelief 
of  Milcho,"  "  The  Striving  of  St.  Patrick  on  Mount  Crua- 
chan  ;  "St.  Patrick  at  Cashel  " ;  six  on  St.  Patrick  and 
Oisin.  Of  these  some  are  in  lyric,  rhymed  metres  (notably 
those  concerned  with  Oism),  others  in  blank  verse.  These 
latter  resemble  in  form  Tennyson's  "  Idylls  of  the  King," 
\\ithout  their  rich  colouring,  but  marked  by  the  quiet  and 
stately  beauty  of  phrase  and  of  incident  which  is  distinc- 
tive of  his  narrative  poems. 


ToDHUNTER  (John).  Laurella,  and  other  Poems. 
(Kegan  Paul).  1876.  Forest  Songs.  (Kegan 
Paul).  1881.  (1)  Sounds  and  Sweet  Airs. 
(Elkin  Mathews).  Is.  1904.  (2)  The  Banshee 
and  other  Poems.  fSealv  Brvcrs').  Is.  2nd  ed., 
1888.  •      ^  . 

(1)  is  No.  23  of  Vigo  Cabinet  Series.  Born  1839.  Still 
living  (1912).  For  many  years,  devoted  himself  to  classic 
and  idyllic  themes — legends,  forest  songs,  old  tragedies  and 
mysteries.  In  the  eighties  he  turned  to  Irish  themes,  and 
later  joined  the  Gaelic  League  of  London.  Some  of  liis 
Irish  poems  are  remarkable,  e.g.,  *'  Aghndoe,"  "  The  Shan 


8G 


CUJIDE  TO  BOOK."^  ON  IRELAND. 


Vaa  Vocht  "  of  '87,  "  Longing,"  "The  Banshee,"  etc. 
The  poet  is  notable  for  the  extreme  and  loving  minuteness 
of  his  pictures  of  nature,  for  his  power  of  expressing  in  verse 
the  emotions  of  music  (c/.  poems  on  Mendelssohn, 
Beethoven  and  Bossini),  and  for  his  deep  though tfulness 
and  culture.  In  some  of  his  principal  Irish  poems  he  has 
discarded  rhyme.    (B.  &  R.) 


POETS  OF  THE  GAELIC  TRADITION. 
{Legendary  and  Heroic), 
Ferguson  (Sir  Samuel).    1.  Poems     (Sealy,  Bryers). 
7s.  6d.     F'cap.  4to.  1880. 

Contains  "  Conary,"  an  epic  poem,  characterised  in  tlio 
words  of  de  Vere  by  "  simplicity,  breadth  of  effect,  and  a 
careless  strength  of  movement,"  and  by  Whitley  Stokes  as 
"the   noblest    poem    ever   written    by    an  Irishman"; 

Deirdre,"  which  A.  P.  Graves  considered  Ferguson's 
chief  triumph;  and  the     Naming  of  Cuchullin." 

 2.  ^^Lays  of  the  Western  Gaol."     1st  ed.,  1804. 

(Sealy,  Bryers).  2s. 

Contains  "  The  Tain  Quest,"  "  The  Healing  of  Conall  Ccar- 
nach,"  The  Welshmen  of  Tirawley,"  etc.,  also  mis- 
cellaneous Ballads  and  Poems  and  a  largo  number  of 
translations  from  the  Irish.  "  The  \Yclshmen  of  Tirawley" 
has  been  well  called  a  magnificently  savage  lay,  and  was 
greatly  admired  by  Swinburne. 

 3.     Congal."     1st  ed.,  1872.     fSealv.  Brvers). 

2s. 

A  great  epic  poem  in  5  books,  dealing  with  the  conflict 
between  Paganism  and  Christianity  in  the  6th  century. 

 4.    Lavs  of  the  Red  Branch."    (Sealy,  Bryers). 

2s. 

A  collection  from  different  volumes  of  all  the  poems  dealing 
with  the  Conorian  cycle  of  Irish  heroic  literature,  with 
historical  introduction. 

In  Ferguson's  writings  the  great  work  of  restoring  to 
Ireland  the  spiritual  treasure  it  had  lost  in  parting  with 
the  Gaelic  tongue  was  decisively  begun.  '  Congal '  and  his 
shorter  Irish  heroic  poems  combine  in  a  striking  manner 
the  vague,  undefined;  shadowy  grandeur,  the  supernatural 


POETRY. 


87 


glamour  of  northern  romance,  with  the  self-restraint,  dis- 
tinct symmetrical  outline,  ordered  proportion  and  organic 
construction  of  the  Greek  classics." — Roden  Noel.  His 
defects  are  a  want  of  finish  and  verbal  felicity,  and  a 
frequent  roughness  of  sound  and  metre.  Aubrey  de  Vere 
says  of  Ferguson's  poetry  : — "  Its  qualities  are  those  charac- 
teristic of  the  noble,  not  the  ignoble,  poetry,  viz.,  passion, 
imagination,  vigor,  an  epic  largeness  of  conception,  wide 
human  sympathies,  vivid  and  truthful  description — while 
with  them  it  unites  none  of  the  vulgar  stimulants  for 
exhausted  or  morbid  poetic  appetite,  whether  the  epicurean 
seasoning,  the  sceptical,  or  the  revolutionary."  W.  B. 
Yeats  has  called  him  "  the  greatest  poet  Ireland  has 
produced." 

De  Vere  (Aubrey  T.).    Tho  Foray  of  Queen  ]\raeve. 
(Kegan,  Paul.)  1882. 

Three  long  poems.  1.  The  Sons  of  Usnach,  told  in  the  same 
rhymed  verse  as  Dr.  R.  D.  Joyce  used  in  Blanid.  2.  The 
Foray  of  Queen  Maeve,  being  the  Tain  Bo  Cuailgne  told  in 
the  blank  verse  of  Tennyson's  Idylls  of  the  King,  which  it 
somewhat  resembles  in  style.  3.  The  Children  of  Lir.  No. 
2  is  told  in  prose  in  Standish  0 'Grady's  "  Gates  of  the 
North." 

ToDHUxNTER  (Joliii).     Tlireo  Irish  Bardic  Tales.  Pp. 
160.    (Dent.)  1896. 

Sons  of  Lir,"  "  Sons  of  Usna,"  "  Sons  of  Turann."  The 
first  two  are  related  in  unrhymed  iambic  hexameter  (Alex- 
andrine) with  occasional  lyrical  passages;  the  third  in 
unrhymed  lyric  measures.  The  first  and  third  are  re- 
printed from  a  former  volume.  I  have  freely  handled 
my  materials — not  following  precisely  any  one  of  the  many 
versions  of  each  legend,  but  adopting  whatever  best  suited 
my  purpose  in  each  "  (Preface).  The  poems  are  exquisite 
in  choice  of  expression  and  in  literary  finish. 

Larminie  (William).     Glanlua,  and  other  Poems. 

Crown  8vo.    3s.  6d.  1889. 
 Fand,  and  other  Poems.     Crown  8vo.     3s.  6d. 

(Hodges  &  Figgis).  1892. 

Ancient  Gaelic  hero-tales  for  the  most  part,  told  in 
stately  verse  in  which  Gaelic  assonance  is  substituted  for 
rhyme.  The  metres  are  unusual  in  poems  of  the  kind,  and 
the  myths  are  treated  in  a  way  peculiar  to  the  author. 


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He  is  more  concerned  with  the  substance  of  the  thought, 
which  is  philosophical  and.  mystical  (without  being  vague) 
than  with  the  expression,  which  is  not  always  beautiful. 

Joyce  (R.  D.).  Blanid.  Pp.  247.  (Boston:  Roberts 
Bros.).  1879. 

A  metrical  romance  of  the  Cuchullain  cycle.  For  the  most 
part  it  is  in  stanzas  of  eight  lines  rhyming  a,  b,  a,  b,  a,  b, 
c,  c,  but  the  metro  is  a  good  deal  varied,  and  here  and 
there  are  very  beautiful  songs. 

  Deirdre.    Pp.  262.    (Gill).  1877. 

The  fate  of  the  Sons  of  Usnacli,  with  many  side  episodes 
told  in  heroic  rhyming  verse  (that  of  Pope's  translation  of 
Homer).  Language  full  of  colour  and  variety.  His  most 
successful  poem. 

SiiEEHAN  (Canon).  Citliara  Mea.  Pp.  246.  (Boston : 
Marlin,  Callanan  &  Co.).  1900. 

Includes  three  poems  Irish  in  subject,  viz.,  "  Sentam  the 
Culdee  "  (pp.  111-127),  which  belongs  to  the  literature  of 
vision;  "  Gachla — the  Druidess  "  (pp.  131-154),  a  phase  of 
the  conflict  between  Christianity  and  Paganism  in  early 
Ireland;  "  A  Prophecy  "  (of  the  future  of  Ireland),  a  short 
lyric.  The  two  former  are  in  blank  verse.  They  are  noble 
in  diction  and  abound  in  finely  imaginative  passages. 

GwYNN  (Stephen).  A  Lay  of  Ossian  and  Patrick,  with 
other  Irish  Verses.  12nio.,  sewed.  Is.  net. 
(Hodges  &  Figgis)  1903. 

Translations  and  adaptations  from  the  Irish,  with  a  few 
poems  on  modern  themes.  The  La}^  contains  passages  of 
much  power.  Notable  for  their  intense  love  for  Ireland, 
especially     A  Song  of  Defeat." 

Sargant  (Alice).  The  Death  of  Oscar:  a  Chronicle  of 
the  Fianna  in  xii.  Cantos.  2  Vols.  (Hodges  & 
Figgis).  1902. 

The  whole  Fenian  cycle  with  some  of  the  Cuchullain  cycle 
is  wrought  into  a  single  epic.  Thus  it  includes  The  Pursuit 
of  Diarmid  and  Grania,  The  Coming  of  St.  Patrick,  The 
Campaign  of  Cuthullin  (sic)  against  Cairbre,  The  Death 
of  Oscar  and  of  Cuthullin,  The  Revenge  of  Finn,  His 
Journey  to  Tir  na-og  (sic),  Deirdre  and  the  Sons  of  Usnach, 


POBTBr. 


89 


"  Tlia  characters  represented  in  this  book  are  essentially 
ideal  and  appertain  to  the  Celtic  type  of  mind/*  Told  in 
melodious  and  literary  verse,  in  stanzas  rhyming  thus  : 
a,  b,  a,  b,  b,  c,  b,  c,  c. 

HuTTON  (Mary  A.).  The  Tain:  an  Irish  Epic  told  in 
English  Verse.  Pp.  495.  4to.  (Maunser). 
10s.  6d.    Artistically  bound.  1907. 

Based  on  the  Book  of  Leinster  version  of  the  Tain  Bo 
Cuailgne.  But  much  material  from  various  other  Irish 
epic  sources  has  been  worked  into  the  texture.  The  author 
was  engaged  on  the  work  for  ten  years.  Appendices  giving 
topographical  notes,  an  account  of  authorities  used,  names 
of  persons,  tribes  and  animals,  Irish  terms,  etc.  The  verse 
is  sober  and  stately,  with  a  Gaelic  flavour  which,  howevei', 
does  not  violate  English  idiom.    Here  is  the  opening — 

One  eve  it  chanced  to  Al-yill  and  to  Maev 
— The  while  the  beautiful,  full -blazing  sun 
Sank  'mid  the  bright  cloud -rafters  of  the  sky — • 
That  they  v:cvq  standing,  etc. 

(V)usiNS  (James  H.).  1.  Ben  Madighan  and  other 
Poems.  (Belfast).  1894.  2.  The  Legend  of  the 
Blemished  King,  &c.  (Dublin).  1897.  3.  The 
Voice  of  One.  (London).  1901.  4.  The  Quest 
f:\Iaunsel).  1906.  5.  The  Awakening,  and  other 
Sonnets.  (LLaunsel).  Is.  net.  1908.  G.  The 
Bell-Branch.  (Maunsel).  Is.  net.  1908. 
"  Mr.  Cousins  early  work  was  an  echo,  now  of  Byron,  now 
of  Moore.  When  he  became  interested  in  Irish 'legendarv 
matter  he  began  to  find  himself,  and  his  later  work  is 
remarkable  for  the  rich  and  melodious  form  into  which  he 
has  put  themes  drawn  from  ancient  Irish  mythology.  He 
belongs  to  the  mystical  side  of  the  Irish  poetical  movement 
of  to-day,  and  is  one  of  the  most  notable  writers  connected 
with  it." — T.W.K.    See  below  for  separate  account  of  4. 

  The  Quest.    Pp.  55.    (Maunsel).  190G. 

Contains  "  The  Going  Forth  of  Dana,"  "  The  Sleep  of  the 
mi^'"  "  -^^^^  Marriage  of  Lir  and  Niav,"  "The  Quest," 
"  The  Coming  of  Psyche,"  "  To  Eire,"  and  three  others, 
well  described  as  "  Harvest  of  dreams  from  fields  of  an- 
^■'lent  lore."  They  are  excollont  in  language  and  metre,  but 
impalpable  as  dreams. 


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MiLLiGAN  (Alice).  Hero  Lays.  80  pp.  (Maunsel). 
2s.  6d.  1908. 

In  *'  Hero-Lays,"  heroism  is  glorified  from  the  times  of  the 
mythical  Lugh,  who  drove  out  the  Fomorians,  down  to 
those  of  the  devoted  energy  of  the  modern  Gaelic  League 
organizer.  Her  verse  has  the  notes  of  sincerity  and 
individualitv ;  all  that  she  writes  of  has  heen  strongly  and 
genuinely  felt.— T.W.R. 

Trench  (Herbert).  Deirdre  Wedded,  and  other 
Poems.    Crown  8vo.    (Methiien).    5s.  1901. 

An  episode  of  thirty  hours  delivered  by  the  Three  Voices. 
It  deals  with  the  love  of  Deirdre  for  Naoise,  and  is  founded 
on  a  Gaelic  version  of  "  Tlio  Tragical  Tale  of  the  Sons  of 
Usnach." 

  New  Poems.    Large  post  8vo.    (Methuen).  6s. 

This  is  the  first  collection  of  poems  made  by  this  author 
since  the  publication  of  "  Deirdre  Wedded  and  Other 
Poems,"  in  1901.  The  theme  of  the  chief  poem  is  human 
immortality.  The  thirty  other  pieces  include  "  Stanzas  to 
Tolstoy,"  "  The  Questioners,"  "  Daughters  of  Joy,"  and 
the  "  Inscription  on  the  Sword  of  Honour,"  presented  to 
Sir  George  White,  V.C.,  and  Old  Anchor  Chanty."  The 
loves  of  Deirdre  and  Naoise  are  treated  by  Mr.  Trench  in 
a  series  of  bursts  of  imagery  and  description  which  have 
very  little  in  common  with  any  Celtic  original,  and  tell  no 
definite  story.  His  verse  in  this  poem  has  a  twisted  and 
passionate  strength  of  a  kind  which  does  not  make  easy 
reading,  but  it  is  certainly  poetry. — T.W.R.  Messrs. 
Hodder  and  Stoughton  have  published  a  volume  of  this 
author's  collected  poems,  including  15  new  pieces,  1911. 

GoRE-BooTii  (Eva).  1.  Poems.  (Longmans).  2. 
Unseen  Kings.  Pp.  87.  (Longmans).  1901.  3. 
The  Three  Eesurrections  and  the  Triumph  of 
Maeve.  Pp.  288.  (Longmans).  1905.  4.  The 
Eg\^ptian  Pillar.    (Maunsel).  1907. 

In  3,  the  Triumph  of  Maeve  is  a  romance  of  the  heroic  age 
of  Ireland.  2.  The  title  piece  is  a  poetic  drama  on  the 
story  of  Cuculain  and  Niamh,  also  several  other  Irish  poems. 
4.  Contains  nothing  distinctively  Irish  except  "  The  Waves 
of  Breffny."  The  style  of  these  poems  is  beautiful  above 
the  average. 


POETRY. 


91 


Many  Irish  poets  besideB  those  liere  mentioned  have  gone 
for  inspiration  to  Gaelic  Heroic  Legend,  Among  others, 
T.  C.  Irwin,  T.  D.  Sullivan,  Katharine  Tynan,  andy  of 
course,  many  of  the  ]incts  of  the  Gaelic  Eevival, 


POETS  OF  PLACE. 

Thus  to  classify  the  following  poets  is  not  to  insinuate  that 
their  verse  is  of  merely  local  interest.  But  the  best  of  their 
inspiration  is  not  drawn  from  historical  events,  nor  from  the 
politics  of  the  hour,  nor  yet  from  inward  brooding,  but  is  rather 
sought  amid  the  scenes  and  the  people  of  that  bit  of  Ireland 
which  was  their  home. 

Allingham  (William).    General  Note.    Born,  Ballv- 
shannon,  1824.    Died  1889. 

Was  of  the  political  and  rt3ligious  faith  of  the  minority. 
Was  full  all  his  life  of  the  love  and  the  memory  of  his 
native  place,  though  most  of  liis  life  was  spent  in  England. 
He  was  intimate  with  Tennyson  and  Carlyle,  with  Rossetti, 
Patmore,  Millais  and  other  pre-Raphaelites,  and  by  these 
latter  his  poetry  was  influenced.  "  Though  not  of  peasant 
stock,"  says  Lionel  Johnson  (in  B.  &  R.),  *'  he  had  all  the 
peasant's  passion  for  the  old  home  with  its  memories  and 
associations,  and  in  him  it  blossomed  into  poetry,  poignant, 
simple,  and  sincere."  Again  : — "  In  his  Day  and  Night 
Songs  we  find  all  his  better  qualities  :  his  wistful,  smiling 
Irish  humour  and  s^'mpathy  with  Irish  character,  with 
Irish  ways  and  scenes,  with  children,  and  with  the  fairy 
world  of  fancy  and  myth;  his  delicate  love  of  Nature  and 
earth's  creatures."  Tennyson,  Rossetti  and  Ruskin 
ardently  admired  his  lyrics.  In  his  lifetime  he  published 
14  vols,  of  verse.  His  works  were  published  posthumously 
in  G  vols.  :  Hero  ni'o  the  titles  of  some  of  AUingham's 
volumes  : — 

1.  Ifti'JO. — "  Poems."    His  first  volume  includes  a  satirical 

poem,  "  Justice  for  Ireland,"  and  three  or  four 
others  of  local  Irish  interest. 

2.  1854. — "  Day  and  Night  Songs,"  1st  series.    31  poems 

in  all. 

3.  1855. — "  The  Music  Master,"  etc.,  is  simply  1  and  2 

republished  along  with  the  title-poem. 

4.  1805. — "  Fifty    ^Modern    Poems,"    includes    "  Winding 

Ranks  of  Erne,"  "Abbey  Assaroe,"  "The 
Abbot  of  Innisfallen,"  but  little  else  Irish. 


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^,  1887 Songs,  Ballads,  and  Stories."    i^.  328.  (Geo. 

Bell!)  Includes  Day  and  Night  bongs  and  the 
best  of  his  early  volumes. 

6-8.  1888-90.— Three  beautiful  volumes  published  by  Reeves 
and  Turner,  viz.,  "  Flower  Pieces  "  (which 
includes  his  Ballads  and  Day  and  Night  Songs), 
"  Life  and  Phantasy,"  "  Blackberries  "  (frag- 
ments  of  verse,  mostly  of  two  lines,  seldom 
more  than  four). 

The  following  two  are  purposely  put  separately  : — 

9.  1R87.— "  Irish  Songs  and  Poems."    Pp.  164.    (London  : 

Beeves  and  Turner).  5s.  Contains  nine  airs 
harmonized  for  voice  and  piano,  including 
"  The  Winding  Banks  of  Erne,"  "  Kitty 
O'Hea,"  "  Among  the  Heather,"  etc.  Con- 
tains also  "  Abbev  Assaroe,"  "  The  Music 
Master,"  "The  Fairies,"  "The  Banshee." 
etc.,  etc.  ^Yith  a  little  foreword  that  is  pure 
poetry  though  in  the  form  of  prose. 

10.  1864. — "  Laurence  Bloomfield  in  Ireland."  (London 

and  Cambridge).  New  ed.,  1869.  A  novel  in 
verse,  full  of  pictures  of  Irish  scenery  and 
society.  Described  by  the  author  in  a  despon- 
dent mood  as  "  the  Landlord  and  Tenant 
Question  in  fiat  dccasyllables." 

Armstrong  (G.  F.  Savage).   Poetic  Works.     1st  ed., 
1865.   New  and  enlarged  ed.,  1877. 

— —  Ballads  of  Down.  (Longmans). 

 Poems,  Lyrical  and  Drama-tic.    1st  ed.,  1869. 

New  ed.,  1892. 

  Stories  of  Wicklow.     In  Verse.  ^Longmansu 

7s.  6d.    1st  ed.,  1886.    New  ed.,  1892. 

 Victoria  Regina  ct  Imperatrix.      elubilee  Song. 

1886. 

Perhaps  the  most  fertile  of  Irish  authors  of  his  time. 
Besides  the  above  he  has  done  much  dramatic  work, 
several  voluniPS  of  non-Irish  poetry,  and  some  prose. 
Throughout  his  youth,  he  tells  us,  he  read  omnivorously 
the  great  Enghsh  poets  and  dramatists,  having,  before  he 
was  twelve,  read  all  Shakespeare.  The  distinct  note  of  Mr. 
Armstrong's  poetry  appears  to  be  formed  by  the  union  of 
liis  ornate  and  stately  diction  with  the  peculiar  freshness 
and  directness  of  his  pictures  of  outdoor  life.    The  latter 


93 


quality  is  owing  to  great  love  of  nature  gained  from  con- 
stant "personal  companionship  with  it.  His  poems  were 
almost  enthusiastically  received  by  critics  in  England  and 
America. 

Gallwey  (Tlioiiias).  Lays  of  Killarney  Lakes.  De- 
scriptive Sonnets.  ^  12mo.  (Hodges,  Figgis). 
8s.  Gd. 

O'Hanlon  (Canon  John,  Lageniensis  Poetical 
Works.    (Duffy).    5s.  [1893]. 

Consist  of  1.  "  The  Land  of  Leix,"  a  long  poem  in  Spen- 
serian stanza  of  nearly  2,000  lines,  describing  Leix  with 
great  minuteness  of  detail.  2.  "  The  Legend  Lays  of 
Ireland,"  various  types  of  stories  similar  to  those  told  in 
prose  in  "  Irish  Folk-Lore,"  etc.  3.  Lastly,  there  are  a 
number  of  sonnets  and  miscellaneous  poems. 

Xeedham  (M.  p.).  Irish  Legends.  Posf  8vo.  (Hodges 
and  Figgis).    3s.  6d.  1904. 

Contents  : — St.  Patrick  at  Bray  Head,"  "  St.  Maxentia," 
"  Dhearvorghil,"  A  Monk  of  Moone  Abbev,"  *'  The  Earlic 
of  Kildare,"  "The  Baron's  Bride,"  •'Ireland's  Eye." 
Narrative  poems  interesting  in  subject  but  not  high  in 
literary  value. 

O'Xeill  "  C*'  Moira'').  Songs  of  the  Glens  of  Antrim. 
Pp.  61.     (Blackwood).    3s.  6d. 

Little  lyrics  (25  in  all)  written  in  dialect  and  wonderfully 
close  in  every  way  to  peasant  speech.  They  deal  with 
natural  scenes  and  with  the  joys  and  sorrows  of  peasant 
life.  The  best  known,  perhaps,  is  Corrymeela.  The 
scenery  of  the  Antrim  glens  is  described  with  singular 
fidelity, 

]^1acmanus  (Seumas).  Ballads  of  a  Coiultrv  Bov. 
Pp.  100.  16mo.    (Gill).    Is.  1905. 

i\Ir.  Macmanus  is  no  longer  the  barefooted  little  Donegal 
peasant  that  he  describes  himself  in  the  foreword,  but  a 
man  of  much  culture  and  literary  power.  But  his  homo  is 
still  in  the  Donegal  highlands  and  his  verse  keeps  the  fresh- 
31CSS  of  his  native  mountain  and  sea-breezes.  These  ballads 
speak  of  home  scenes  and  emotions  with  two  or  three 
stirring  patriotic  and  historical  lyrics  interspersed,  e,g,, 


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''Shane  O'Neill,"  "The  Coming  of  Owen  Roe."  There 
is  a  fine  lilt  in  liis  verses,  with  a  fondness  for  Gaelic 
refrains. 

Barlow  (Jane).     Bogland  Studies.      (Hodder  and 
Stoughton).     3rd  ed.,  1894. 

Seven  sketches  or  stories  in  verse  and  in  dialect.  They 
liave  all  the  qualities  of  author's  Irish  Idylls — sympathy 
with  the  point  of  view  of  the  poor,  close  observation  of  their 
ways,  and  faithful  (on  the  whole)  reproduction  of  their 
speech  and  forms  of  thought.  The  language  is  full  of 
picturesque  and  quaint  metaphor.  They  tell  us  of  the 
eviction,  the  sorrows  of  the  old,  the  resistance  to  the 
souper,  etc. 

Barlow  (Jane).     Ghost  Bereft.     Pp.  165.  (Smith, 
Elder).  1901. 

Consists  of  (a)  Stories  in  verse  similar  in  kind  to  ' '  Bogland 
Studies  "  iq-v.)  and,  for  the  most  part,  in  the  same  metre 
and  dialect,  but  the  title-story  is  in  blank  verse,  and  is 
cast  in  dramatic  form,  (b)  Studies  in  verse,  shorter  and 
more  lyrical.  Has  all  the  good  qualities  of  the  author's 
verse.  Miss  Barlow  has  also  published  The  End  of 
Elfintown.  (Macmillan).  5s.  Illustrated  by  L.  Housman, 
1894.  A  kind  of  fairy  allegory  in  light,  tripping  verse,  and. 
The  Mockers  and  Other  Verses  (Geo.  Allen),  3s.  6d.,  which 
contains  only  three  or  four  pieces  on  Irish  themes. 

Ruttledge  (A.  K.).    Dream  Mists.    (Gill).  1911. 

**  A  dainty  little  book  of  verse  wherein  the  authoress  sings 
sweetly  of  the  sights  and  scenes  around  her  home  in  Con- 
nemara.  ^  The  Cold  Cottages,'  is  both  musical  and 
pathetic,  and  would  of  itself  prove  the  writer  a  true 
poet."— (I.B.L.) 

Lanyon  (Helen).  The  Hill  o'  Dreams.  (Sealy,  Biyers). 
Is.  1911. 

"  The  Ould  Caubeen,"  "  The  Girl  without  a  Dower," 
"Shipwreck,"  "  Maire,"  "The  Clamberin'  Briar,"  ''The 
Valley  of  Tears,"  "  The  Ould  Shuiler,"  "  Haunted,"  "  The 
House  of  Padraig,"  "  Danny  0 'Shane,"  "  An  April  Day," 
"  The  Mother,"  "  Glenanan,"  Sorrow  and  Love."  These 
are  some  of  the  titles.  Some  of  the  poems  are  written  in 
northern  dialect,  not  too  pronounced. 


POETRY. 


95 


Another  writer  of  this  class  is  Michael  Hogan,  "  The  Bard  of 
Thomond.'"  He  published  Lays  and  Legends  of  Thomond  in 
1861,  and  there  ivas  a  new  edition  of  his  icorhs  in  1880. 


POETS  OF  THE  GAELIC  REVIVAL. 

Many  of  the  poets  of  the  New  Movement  have  been  much 
influenced  by  the  Gaelic  Revival. 

Callanan  (Jeremiah  Joseph).  A  Precursor.  Poems. 
3rd  ed.,  1847.  New  Collection,  18G1,  several  times 
reprinted.  Prefatory  Memoir  by  M.  F.  MeCarthv. 
Died  1829. 

He  was  the  first  to  give  adequate  versions  of  Irish  Gaelic 
poems.     The  inspiration  of  his  original  lyrics,  such  as 
Gougane  Barra,"  is  drawn  from  Gaelic  sources,  and  some 
have  Gaelic  refrains. 

O'Hjggins  (Brian),  Brian  na  Banban."  1.  The  Voice 
of  Banba.    Pp.  68.     (GilD.     6d.  1907. 

  2.  At  the  Hill  of  the  Road.   Pp.  55.   (Gill).  6d. 

1910. 

 3.  A  Bunch  of  Wild  Flowers.    (Relip;ious  Verse). 

(Gill).  6d. 

(1)  Subject:  "  Songs  and  Recitations  for  Young  Ireland." 
Inspired  by  Gaelic  Revival.  Mostly  satiric  verses  against 
Shoneens  and  anti-Irish  people,  with  a  few  patriotic  ballads. 

(2)  Country  sights  and  folk  doings  in  a  Glen  in  the  Mid- 
lands belongs  more  properly  to  the  Section  "  Poets  of 
Place." 

McCall  (P.  J.).  1.  Irish  Xoinins.  (Scaly,  Bryers). 
1894.  ^ 

 2.  Songs  of  Erin.     (Gill).     2s.  6d.  1899. 

  3.  Pulse  of  the  Bards :  Songs  and  Ballads.  (Gill). 

2s.  6d.  1904. 

Eminently  singable  lyrics,  with  a  wonderful  ring  and  swing 
about  them.  Many  are  translations  from  the  Irish,  and 
many  more  have  Gaelic  refrains.  Some  are  almost  folk- 
songs,  fresh,  and  racy  of  the  soil.  They  include  songs 
inspired  by  historical  events,  and  gay,  half-sportive  love 
songs.    They  eschew  politics. 


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EooNEY  (William).  Poems  and  Ballads.  Edited  bv 
Artliur  Griffith.  (Gill).  Is.  6d.  1910.  Intro- 
ductory Sketch  of  his  Career  by  Patrick  Bradlcv. 
(Pp.  xivi.). 

Ilooney  Avrotc  verse,  says  the  editor,  merely  to  rouse  his 
countrymen.  Yet,  apart  from  their  purpose,  the  literary 
value  of  these  poems  is  often  high.  They  are  full  of  an 
intense  patriotism  that  all  Kooney's  friends  knew  to  bo 
deep  and  genuine.  But,  unlike  those  of  the  J^ation^  they 
are,  with  some  exceptions,  rather  lyrical,  and  even  reflec- 
tive than  rhetorical.  ceAnn  'Oub  "Oi'lif  is  exquisite. 
Subjects  : — Historical  and  political,  several  drawn  from 
early  Ireland,  some  purely  reflective  and  personal. 

Carbery  (Ethna)/'  i.e.,  Anna  MacManus.  The  Four 
Winds  of  Erin.  (Gill).  2s.  1st  ed.,  1901. 
Many  since. 

Might  be  classed  under  four  heads  : — Poems  of  the  Gaelic 
l)ast,  poems  of  love,  poems  of  national  longing  and 
patriotism,  poems  of  the  Gaelic  imagination.  They  met 
with  wonderful  popularity  (eight  editions  were  sold  the  first 
year),  and  mau}^  are  known  everywhere  in  Ireland.  They 
are  full  of  the  best  thoughts  and  feelings  of  an  exceptionally 
beautiful  mind  and  heart.  They  are  characterised  by  a 
much  imaginative  power  showing  itself  in  beautiful  and 
often  unusual  yet  not  far-fetched  imagery,  and  by  a  won- 
derful variety  of  metre,  always  full  of  music.  They  are 
steeped  in  Gaelicism,  not  of  mere  diction  only,  but  of 
thought  and  inspiration.  The  expression  of  the  emotion  is 
as  direct  and  simple  as  the  emotion  itself  is  true  and 
sincere.  "  This  little  book  should  be  enough,"  writes  Fiona 
MacLeod  in  an  article  in  the  Fortnightly,  1903,  to  light 
many  unseen  fires.'* 

Graves  (Alfred  Perceval),      Irish.  Poems.     2  vols. 
(Maunsel).    2s.  net  each.  1908. 

The  first  collected  edition  of  this  author's  work.  First 
volume  contains  his  poems  written  in  English  under  the 
influence  of  Gaelic  Revival,  including  many  written  in  the 
old  Irish  measures  and  rhyme  schemes,  also  some  short 
narrative  poems.  Foreword  by  Douglas  Hyde.  The 
second  volume  consists  of  Irish  countryside  songs  in  dialect 
' — "  Countryside  Characters,"  "  Countryside  Courtships  " 


POETRV. 


97 


and  "  Songs  of  Sport  and  Occupation,''  also  lyrics  not 
written  in  the  rustic  manner.  "  I  know  no  Irish  writer 
who  more  exactly  suits  an  air  with  words."  "  He  is  essen- 
tially best  as  a  pastoral  poet.  His  songs  nearly  always  have 
to  do  with  open-air  occupations  and  pastimes,  together 
with  lullabies  and  poems  of  tenderness." — D.  J. 
O'Donoghuc,  in  a  lecture.  N.B. — Much  of  A.  P.  Graves' 
work  will  be  found  in  the  Music  Section. 

Leslie  (Shane).    Songs  of  Oriel.    Pp.  48.  (Maunsel). 
Is.  net.  1908. 

28  lyrics  steeped  in  patriotic  sentiment.  Somewhat  form- 
less and  fragmentary  in  thought,  but  showing  forth  a  mind 
full  of  generous  enthusiasms  and  ideals.  Dedicated  *'  To 
the  men  of  Monaghan  who  have  stood  shoulder  to  shoulder 
with  me  in  the  Gaelic  Dawn." 

MacDonagh  (Thomas).   1.  The  Golden  Joy.    2s.  6d. 

 2.  Through  the  Ivory  Gate.    (Sealy,  Bryers).  2s. 

  3.  April  and  May.    (Sealy,  Bryers).  6d. 

— —  4.  Songs  of  Myself.  (Hodges,  Figgis).  Is.  1911. 

2.  Consists  of  "  At  the  Dream  Tower,"  a  sequence  of  42  little 
poems  (dramatic  pieces,  the  author  calls  them)  not  Irish  in 
subject.  The  Miscellaneous  poems,  mostly  Irish  and  lyrical, 
include  *'  Knocknacree,"  "  The  Losing  of  Eoism,"  "  Tlic 
Return  of  Roism,"  To  Cuchulainn,"  "  At  the  Gra^e  of  de 
Villebois  IMareuil,"  etc.  Gaelic  influence  strong,  language 
beautiful.  In  4,  the  Gaelic  influence,  if  present  at  all,  is 
not  very  apparent.  It  consists  of  unpretentious  and  un- 
conventional little  lyrics  about  the  common  things  and 
emotions  of  daily  life.    Simple,  but  refined  and  true. 

Other  poct6  of  the  Gaelic  Revival  arc  Dr.  Sigerson,  Dr. 
DocGLAS  Hyde,  and,  many  years  ago,  Edward  Walsh.  But 
the  great  bulk  of  their  work  consists  in  translations  from  the 
Irish,  and  the  collections  of  translated  poems  published  by  thcni 
wili^  be  found  under  A.  Few  poets  of  the  last  few  years  are 
entirely  uninfluenced  by  the  movement. 


II 


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SATIRICAL  AND  HUMOROUS. 

Thomas  Moore's  Satires. 

Of  these,  Mr.  Stopford  Brooke  says  (in  B.  and  R.)  "  The 
graver  sath*es,  such  as  '  Corruption  '  and  '  Intolerance,' 
written  in  imitation  of  Pope,  have  neither  weight,  humour, 
felicity  of  phrase,  nor  savage  'bitterness.  He  had  no 
capacity  for  grave  or  cruel  poetry.  .  .  .  But  the  lighter 
satirical  poetry,  the  Twopenny  Post-bag,  the  Satirical  and 
Humorous  Poems,  could  not  be  bettered.  They  stand 
alone  in  their  excellence.  They  have  a  roguish  happiness 
in  their  own  wit,  and  their  wit  is  honestly  brilliant.  They 
are  severe,  but  there  is  so  much  gaiety  in  the  severity 
that  even  those  most  sharply  attacked  had  no  desire  to 
revenge  themselves.  .  .  .  We  can  scarcely  imagine 
.  .  .  how  society  was  charmed,  tickled,  and  seasoned  by 
jeux  d' esprit  which  hit  the  moment  with  such  sagacity 
and  mirth,  and  which,  continued  for  nearly  30  years,  kept 
their  freshness." 

Lover  (Samuel).  1.  Poetical  Works.  (London). 
1860.  2.  Metrical  Tales  and  Other  Poems. 
(London).  1860.  Routledge's  edition  is.  perhaps, 
the  best. 

' '  There  are  very  few  indeed  who  can  be  placed  on  the  same 
level  as  a  humorist  in  verse."  His  poems  include  the 
famous  "  Widow  Machree,"  "  Barney  O'Hea,"  "  Molly 
Carew,"  and  "  Rory  O'More."  They  are  full  of  archness 
and  gaiety,  without  coarseness.  But  Lover  could  also 
write  lyrics  instinct  with  genuine  feeling,  e.g.,  "  The 
Angel's  Whisper,"  and  "  What  will  you  do,  love?  ". 

M  AHONY  (Francis  Sylvester,  '*  Father  Prout  ),  1.  '*  Re- 
liques  of  Father  Prout,"  Prose  and  Verse.  Edited, 
with  Biographical  Introduction  and  Notes,  by 
Charles  Kent.  Pp.  xxxix.  +  502.  (Routledge). 
2.  ^' Final  Reliques  of  Father  Prout."  Edited 
by  Blanchard  Jarrold.  Pp.  531.  (Chatto  and 
Windus).  187G 

1.  A  wonderful  collection  of  political  skits,  satires,  bur- 
lesques, parodies.  The  songs  of  France  (pp.  133-210), 
translations  from  many  French  poets,  the  originals  being 
given.  The  Songs  of  Italy  (pp.  211-248),  a  similar  series. 
The  Songs  of  Horace,  being  translations  from  the  ode«, 


POETRY. 


99 


the  Latin  text  opposite  (pp.  377-466).  Translations  from 
modern  Latin  poets  (308-360),  etc.,  etc.  2.  Consists  of 
prose  exclusively. 

]\[iTCHELL  (Susan).  Aids  to  the  Immortality  of  Cer- 
tain Persons  in  Ireland.  Pp.  37.  (Duffv).  Is. 
1908. 

A  tiny  book  of  very  clever  satires,  by  a  yomig  authoress. 
Contemporary  names  are  freely  mentioned,  e.g.^  W.  B. 
Yeats,  A.  E.,  and  Geo.  Moore.    Sympathies,  Nationalist. 

There  are  some  clever  ineces  in  two  little  volumes  of  humorous 
verse  by  J.  Moody  Lowry,  eiititled,  respectively,  "  Keys  at 
Home,"  and  "  A  Lay  of  Kilcock." 


IRISH-AMERICAN  POETS. 

Savage  (John).  Poems:  Lyrical,  Dramatic,  and 
Romantic.  Pp.322.  (New  York :  Kenedv).  1st 
ed.,  1866;  2nd,  1870,  still  in  print. 
Born,  1828,  in  Dublin,  died  in  New  York,  1888.  Published 
several  volumes — Lays  of  the  Fatherland,  1850;  Sybil, 
1850;  Faith  and  Fancy,  1864;  Poems,  1870.  The  powerful 
ballad,  "  Shane's  Head,"  is  a  good  example  of  his  work. 

O'Reilly  (John  Boylej.  Poems  of.  They  take  up 
pp.  395-710  (demy  Bvo)  in  the  Volume  containing 
his  Life  and  Works,  edited  by  his  wife.  (Fisher 
Unwin).   1891.   Pp.  790. 

"  The  sensitive  lyrist,  the  idealist,  the  rebel,  the  eager- 
hearted  lover  of  humanity,  the  Christian,  Bohemian, 
socialist,  the  poet  always  "  (W.  P.  Ryan,  The  Irish  Literary 
Revival),  Among  many  poems,  reflective,  patriotic,  and 
narrative,  the  following  are  Irish  in  subject  : — "  The  Exile 
of  the  Gael,"  "  My  Native  Land,"  "  The  Priests  of  Ireland," 
"John  Mitchel,"  "A  Nation's  Test"  (read  at  O'Connell 
Centennial  at  Boston,  1875),  *'  The  Fishermen  of  Wexford," 
"  The  Patriot's  Grave  "  (at  Emmet  Centennial),  "  The 
Feast  of  the  Gael,  "  Ireland,  1882."  These  have  no  special 
beauty  of  diction.  They  are  good,  swingiug,  straightfor- 
ward verse.  John  Boyle  O'Reilly  was  born  in  Co.  Meath, 
but  lived  most  of  his  life  in  U.S.A. 


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JonsTON  (James  Niclioll).  Donegal  Memories  and 
Other  Poems.  Pp.  117.  (New  York,  Buffalo: 
Privately  printed).  21  photos,  of  Donegal  and  of 
places  in  U.S.A.  1910. 

The  "  other  poems  "  are  not  concerned  with  Ireland. 
The  poems,  on  the  whole,  are  simple  and  unpretentious, 
but  they  have  a  quiet  charm  of  their  own. 

Collins  (William).  Poems,  Songs,  and  Ballads. 
Pp.  352.  (New  York:  P.  J.  Kenedy).  $1.20. 
(Current  Catalogue). 

Rapparee  ballads,  historical  and  logendarv  poems  relatiiig 
to  every  county  in  Ireland. 

Clarke  (Joseph  I.  C).  Maelmorda,  a  Metrical 
Komance.  1893. 

The  "  Fore-song  "  to  this  is  of  singular  beauty.  This 
author  has  also  written  "  The  Fighting  Race  "  (Kelly  and 
Burke  and  Shea)  and  other  popular  poems. 

There  are  other  Irish-American  ])oets  well  worthy  of  mention 
liad  a  notable  portion  of  their  work  dealt  with  Ireland.  Such, 
for  instance,  are  Daniel  0'Co7ineU,  of  San  Francisco;  Father 
Abram  Eyan,  the  Poet  of  the  South:  James  McCarroll,  Michael 
ScanJan,  P.  J.  Colcvian,  Eleanor  Donnelly,  Maiwice  Francis 
Egan,  and  not  a  few  others. 


THi-:  ^'l:\v  i\i()VE:MK^T. 

Under  this  heading  I  liave  placed  those  writers  whom  Mr. 
Yeats  has  spoken  of  as  The  little  group  of  Irish  poets  who 
seek  to  express  indirectly,  through  myths  and  symbols,  or 
directly,  in  little  lyrics  full  of  prayers  and  lamentations,  the 
desire  of  the  soul  "for  spiritual  beauty  and  happiness  "—and 
also  some  other  poets  commonly — Avhetlier  rightly  or  wrongly 
it  is  hard  to  say — associated  wdth  these.  They  owe  much  both 
to  the  Gaelic  nioveinent  and  to  Gaelic  tradition.  It  is  with 
much  diffidence  that  I  make  the  classification. 


POKTUV. 


1.01 


:VTs  (W.  B.).  !•  The  Wanderings  of  Oisin  and 
Other  Poems.  Pp.  156.  (Kegan,  Paul).  5s. 
[1889.] 

—  2.  The  Countess  Kathleen  and  Various  Legends 
and  Lyrics.     (London).  1892. 

—  3.  Poems.     (London).  1895. 

—  4.  The  Wind  Among  the  Eeeds.  (London).  1899. 

—  5.  Poems.  (Fisher  Unwin).  Pp.  298.  2nd  ed., 
1899. 

Contains  The  Countess  Cathleen;  The  Land  of  Heart's 
Desire;  ''The  Wanderings  of  Oisin  ";  and  two  collections 
of  short  lyrics  entitled  "  The  Rose,"  and  "  Crossways," 
respectively.  In  his  Pref.  he  says  :  "  The  writer  revised, 
and,  to  a  great  extent,  re-wrote  '  The  Wanderings  of  Oisin  ' 
and  certain  Ij^^ics  and  ballads  from  the  same  volume." 
Again,  "  This  book  and  The  Wind  Among  the  Reeds  con- 
tain all  of  his  published  poetry  that  he  cares  to  preserve." 

—  6.  In  the  Seven  Woods.     (Macmillan).  1903. 
Being  Poems  chiefly  of  the  Irish  Heroic  Age. 

  7.  Poems.     (A.  H.  Bullen).    1899-1905.  6s.net. 

(Contains  the  Plays — "  The  Shadowy  Waters,"  "  The  King's 
Threshold,"  "  On  Baile's  Strand,"  entirely  revised  and 
largely  re-written,  and  tlie  collection  of  lyrics,  "  In  the 
Seven  Woods." 

—  8.  Poems.  2nd  Series.  Pp.  162.  (Bnllen). 
1909. 

Contains  : — The  Wind  Among  the  Reeds ;  The  Old  Age  of 
Queen  Maeve;  Baile  and  Aillinn;  In  the  Seven  Woods; 
Songs  from  Deirdre;  The  Shadowy  Waters. 

—  9.  The  Green  Helmet  and  Other  Poems.  Pp.  42, 
(The  Cuala  Press).    10s.  6d.  net.    191J . 

Mr.  Yeats 's  Poems  may,  in  general,  be  classed  as  (a) 
Simple  ballads,  (b)  Poems  based  upon  lYi^h  Myth,  Legend, 
and  Romance,  (c)  Lyrics,  for  the  most  part  mystic  and 
symbolistic;  but  some  of  his  work  escapes  from  this  classi- 
fication.   Under  {a)  come  such  pieces  as  "  The  Ballad  of 


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Father  Gilligan,"  "  The  Ballad  of  Moll  Magee,"  "  The 
Ballad  of  the  Foxhunter.'*  Under  (b)  eoraes  The  Wan- 
derings of  Oisin,"  one  of  the  most  splendid  pieces  of 
imaginative  work  in  modern  poetry,  and  such  fine 
poems  as  '*  The  Death  of  Cuchoolin,"  "  Fergus  and  the 
Druids,"  *'The  Madness  of  King  Goll."  But  these 
themes  interest  the  poet,  not  for  themselves,  but 
because  of  some  dim  symbol  in  the  background,  or 
some  mood  of  his  own  mind.  The  poet's  work  tends 
more  and  more  towards  the  class  of  poems  under  (c). 
Unhappily  the  poet  alone,  too  often  alone,  possesses  the 
key  to  his  symbols.  As  Fiona  MacLeod  said  :  "  He  is 
so'  intent  upon  the  expression  of  poetry  that  sometimes 
he  prefers  his  ideas  to  his  material,  that  sometimes  he 
dematerialises  his  ideas  and  suggests  mystery  instead  of 
realising  beauty."  What  of  the  spirit  of  his  poetry?  It 
aims  to  be  purely  pagan  in  its  inspiration,  though  not 
with  a  gross  and  material  paganism.  It  etherealises  every- 
thing, even  passion.  Its  spirit  is  one  of  aloofness  for  the 
common  things  of  daily  life,  for  action  of  all  kinds,  for 
w^hat  savours  of  the  middle  or  commercial  classes,  and  for 
religion,  except  as  a  purveyor  of  symbols.  Finally,  Mr. 
Yeats  has  a  style  all  his  own,  and  a  greater  mastery  over 
language  than  perhaps  any  poet  of  recent  times. 

Russell  (G.  W.,  ''A.  E.").     Homeward:  Songs  by 
the  Way.    (Lane).    2s.  6d.    Sq.  IGmo.  1904. 

  The  Earth  Breath.    (Lane).    3s.  6d.  net.  Sq. 

Ifimo.  1897. 

— —  The  Divine  Vision.    (Macmillan).  1904. 

 Nuts  of  Knowledge.    [Selections].    (Dun  Emer 

Press).  1903. 

Born  1867.  Belongs  to  the  newest  school  of  Irish  poetry, 
to  which  W.  B.  Yeats  also  belongs.  Is  deeply  versed  in 
the  learning  of  the  East,  the  Vedas  and  Upanishads,  of 
Plato  and  of  the  neo-Platonist  mystics.  Is  an  admirer 
and  student  of  the  modern  mystic,  William  Blake,  also 
of  Thoreau,  Emefson  and  Whitman.  His  poetry  is 
visionary,  pantheistic,  mystic,  full  of  abstruse  symbolism. 
On  the  other  hand,  A.  E.'*  is  an  ardent  Nationalist,  and 
his  best  inspiration  is  drawn  from  legendary  Celtic  anti- 
quity. He  is  also  a  practical  man,  and  one  of  the  most 
successful  workers  in  the  I.A.O.S.    ^'Perhaps  no  Celtic 


POETRY. 


103 


poet,"  says  Stephen  Gwynn,  "  has  ever  given  to  the  soul 
of  his  race  an  expression  more  beautiful  or  more  charac- 
teristic." 

.  SiGERSON  (Dora  [Mrs.  Clement  Shorter]).  Collected 
Poems,  with  an  Introduction  b}^  George  Meredith. 
P.  287.     (Hodder  &  Stoiightoii).  1907. 

A  selection  from  three  or  four  earlier  volumes.  The  poems 
comprise  (1)  Ballads,  direct,  simple  and  unconventional. 
(2)  Metrical  legends  and  other  tales,  some  with  a  deeper 
meaning  behind  the  story.  (3)  Reflective  poems,  expres- 
sive of  intimate  personal  emotions  and  feelings,  for  the 
most  part  deeply  tinged  with  melancholy.  (4)  Poems 
dealing  with  superstitions  and  fairy  beliefs  of  the  peasantry. 
A  large  proportion  of  the  volume  is  inspired  by  Ireland, 
and  by  Gaelic  Ireland.  The  titles  of  some  of  her  other 
volumes  are  : — "  Ballads  and  Poems  "  (Bowden),  1899:  "  A 
Fairy  Changeling  "  (Lane),  1897;  "  Verses  "  (Stock),  1893. 

Hopper  (Nora).     Poems  Selected.     (Alston  Rivers) 
6s.  net.  1906. 

  Under  Quicken  Boughs.    (Lane).  1896. 

  Songs  of  the  Morning.     (Richards).    3s.  6d. 

The  qualities  of  Nora  Hopper's  (died,  1909)  poetry  have 
been  well  described  as  "  facile  melodiousness  and  im- 
palpable imaginativeness."  W.  B.  Yeats  says  of  her 
poems  :  "  They  delight  us  by  their  mystery,  as  ornament 
full  of  lines,  too  deeply  interwoven  to  weary  us  with  a 
discoverable  secret,  delights  us  with  its  mystery,"  and 
again  "  This  book  ("  Ballads  in  Prose,"  which  was  noted 
under  Fiction,  and  which  contains  much  verse)  is  full  of 
old  beliefs  and  stories,  mixing  and  changing  in  an  en- 
chanted dream."  Her  subjects  are  almost  all  drawn  from 
Irish  folklore  and  legend,  and  with  the  delicate  music  of 
her  poems  are  often  mingled  Gaelic  assonances. 

O'SuLLivAN  (Seumas,"  pseud,  of  James  Starkey). 
1.  The  Twilight  People.  (Dublin:  Whalev). 
1906. 


2.  Verses,  Sacred  and  Profane.  (Ifaunsel).  Is. 
1907. 


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  3.  The  Earth  Lover.    (New  Nation  Press).  Is. 

1909. 

A  follower  of  the  mystical  school  of  "  A.  E."  2  Contains 
several  poems  about  Dublin.. 

CoLUM  (Padraic).    Wild  Earth.     (Maunsel).  [1907]. 
2nd  ed.,  1908. 

Wild  Earth  is  dedicated  "  to  A.E.,  who  fostered  me." 
Padraic  Colum  writes  mostly  of  the  simple  things  of  the 
country  The  Plougher,"  "A  Drover,"  ''The  Trees," 
The  Suilier/'  An  old  woman  of  the  Roads  " — these  are 
the  titles  of  some  of  his  poems.  The  atmosphere  is  that 
of  Connaught. 

MacCathmaoil  (Seosamh).  1.  The  Garden  of  the  Bees. 
(Gill  and  Erskine  Mayne).  1906. 

  2.  The  Rushlight.     A  Volume  of  Folk  Poetry. 

1906. 

  3.  The  Man  Child.     (Maunsel).  1907. 

  4.  The  Gilly  of  Christ.    (Maunsel).    Is.  1907. 

'  —  5.  The  Mountainy  Singer.     (Maunsel).    Pp.  70. 
1909. 

 0.  Sea  Ribbons  and  Ling.     (Maunsel).  1910. 

In  No.  5  the  author  gathers  what  he  likes  best  from  the 
previously  published  volumes,  and  adds  new  poems. 
"  These  verses  are  the  harvest  of  a  quiet  and  observant 
eye.  The  writer  tells  of  things  that  have  interested  him 
during  wanderings  about  Ireland  in  verse  of  subtle, 
rhythmic  beauty." — T.W.R.  The  fire  on  the  hearth,  the 
calleach  spinning  at  her  wheel,  the  plough,  scarecrows, 
the  herb-leech — such  are  his  themes.  Some  of  the  poems 
are  thin  enough,  some  obscure,  some  prosy,  but  many  are 
true  poetry.  They  are  steeped  in  Gaelicism.  The  author 
says  of  No.  4  :  ^'  This  booklet  is  an  attempt  at  the  expres- 
sion of  the  theory  that  Art,  being  a  thing  removed  from 
Life,  is  .  .  .  false."  The  Man  Child  is  a  symbol  of 
the  new  regenerate  Ireland.  N.B. — This  writer  has  a  habit 
p|  treating  the  Christian  mysteries  as  folklore. 


POETRY. 


105 


Boyd  (Thomas).       Poems.       (O'Donoghue  or  Gill). 
2s.  6d.  net.  1907. 

"  An  Irish  poet  of  much  power  and  promise,  a  native  of 
Co.  Louth,  at  present  residing  in  London.  Born,  1867." — 
B.  and  R.  His  poem  "  To  the  Leanan  Sidhe  "  is  very 
beautiful,  and  not  of  the  misty  kind.  Others  are  "  Balor," 
The  Death  of  CuchuUin,"  "  Ethne  in  Tor  Inis."  Divi- 
sions — (1)  Lyrics,  (2)  In  the  Early  World,  (3)  From  the 
Mouth  of  the  People,  (4)  Personal.  25  poems,  all  Irish 
in  one  way  or  another.  Very  highly  praised  in  the  English 
and  Scotch  as  well  as  Irish  Press.  "  Mr.  Boyd,"  says 
The  Bookman,  "  has  not  the  exquisite  artistry  of  Mr.  W. 
B.  Yeats,  but  he  has  all  of  his  subtle  skill  in  melody  and 
verbal  magic  and  undeniable  gifts  of  feeling  and  imagina- 
tion." Yet,  perhaps,  his  facility  prevents  him  from 
reaching  a  very  high  level  of  art. 

Young  (ElLa).    Poems,     aiaunsel).    Is.  1906. 

'*  A  small  volume  of  verse,  mostly  on  Irish  themes,  con- 
taining much  fine  thought,  delicately  expressed.  A  sonnet 
on  ^  The  Star  of  Knowledge, '  shows  considerable  power  in 
this  verse  form." — T.W.B. 

Weekes  (Charles).    About  Women.    Verses.  (Maun- 
sel:  Tower  Press  Booklets).     Is.  1907. 

"  Comments  upon  life,  sometimes  of  rather  an  acid  flavour, 
^^•ith  an  occasional  strain  of  mysticism." — T.AV.H. 

Stephens  (James).   Insurrections.    Qfaunsel).  1909. 

"  26  short  poems,  which  one  might  be  inclined  to  call 
morbid  but  for  their  evident  sincerity  and  for  the  fact  that 
they  deal  with  very  grim  realities.  They  are,  for  the  most 
part,  pictures  of  degradation  and  despair,  idylls  of  the 
gutter,  drawn  with  a  strong  and  inflexible  hand." — T.W.K. 

Synge  (JohnM.).  Poems  and  Translations.  (Maunsel). 
3s.  6cl.    [1909].  1911. 

Short  introduction  by  W.  B.  Yeats.  Of  these  poems,  27 
in  all,  Synge  wrote  :  "I  do  not  feel  very  sure  of  them, 
yet  enough  of  myself  has  gone  into  them  to  make  me  sorry 
to  destroy  them."  "  \Ybat  went  into  them  was  the  more 
grim  and  cynical  side  of  the  author's  mind.    Heavy  with 


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sombre  thought,  they  are  not  cheerful  reading,  nor  repre- 
sentative of  the  author's  powers  at  their  best,  but  they 
are,  unmistakably,  the  work  of  a  strong  and  a  poetic 
individuality."— T.W.B. 

Keohler  (Thomas).      Songs  of  a  Devotee.    Pp.  4:0. 
(Maunsel).    Is.  1906. 

SO  short  poems,  mostly  introspective  and  semi-religious — 
"The  Vision,"  ''Night,"  "Consolation,"  ''Mea  Culpa," 
"  Adoration,"  etc. 


I  have  ventured,  perhaps  wrongly,  to  group  together  the 
following  poets,  but  I  have  not  ventured  to  give  the  group  a 
name. 

Tynan  (Katharine).  1.  Louise  de  la  Valliere.  (Kegan, 
Paul).  1885. 

The  title  poem  occupies  only  6  pp.  *'  The  Flight  of  the 
Wild  Geese  "  is  the  only  poem  Irish  in  subject. 

  2.  Shamrocks.  Pp.  197.   (Kegan,  Paul).  1887. 

Contains: — ''The  Pursuit  of  Diarmuid  and  Grainne  " 
(55pp.)  in  very  varied  metres,  "  The  Story  of  Aibhric," 
"  The  Fate  of  King  Feargus."  The  rest  are  miscell^eous 
l,\rics  and  sonnets,  for  the  most  part  not  concerned  with 
Ireland. 

  3.  Ballads  and  Lyrics.  Pp.  163.   (Kegan,  Paul). 

1891. 

Contains  : — "  Children  of  Lir,"  "  Connla  of  the  Golden 
Hair."    Few  of  the  rest  are  Irish. 

 4.  The  Wind  in  the  Trees.     (Grant  Richards). 

1898. 

*'  A  Book  of  Country  Verse."  Aspects  of  nature  treated 
with  childlike  simplicity  and  directness.  Irish  refrains 
and  an  Irish  note,  but  nothing  expressly  Irish. 

  5.  Innocencies.     Pp.  70.     (Maunsel).     3s.  6d. 

1906. 

Nothing  Irish  in  subject.  ^'  Xmas  Communion/'  beautiful 
and  reverent. 


POETRY. 


107 


6.  Collected  Poems.    (Gill).    7s.  Gel.    Pref.  by 
George  Wyndham.  1903. 

  7.  New  Poems.    Pp.  76.    (Sidgwick  &  Jackson). 

3s.  6d.  1911. 

Her  subjects  are  for  the  most  part  drawn  either  from 
Catholic  legend,  or  ancient  Irish  legend,  or  from  the  life 
of  wild  natm-e.  She  does  not  attack  moral  problems. 
Her  colours  are  as  pure  and  her  outlines  as  definite  as 
is  an  Italian  pre-Raphaelite  painting.  Her  first  volume  of 
poems  was  hailed  with  justice  as  one  of  the  earliest 
symptoms  of  the  revival  of  imaginative  literature  in 
Ireland  aft-er  the  Famine  had  blighted  the  movement  of 
the  Young  Irelanders. — T.W.R.  Three  notes  constantly 
recur  in  her  poetry — love  of  country,  religious  feeling,  and 
an  intimate  appreciation  of  the  beauty  of  external  nature. 
As  an  example  of  the  second  of  these-,  take  such  poems  as 
"  The  Chapel  of  the  Grail,"  "  The  Angel  of  the  Annun- 
ciation,*' "  The  Rock  of  Ages."  It  is  not  so  much  of  the 
grand  or  the  terrible  aspects  of  nature  that  the  poet  sings 
or  of  its  mystic  symbolism.  She  sees  food  for  observation, 
for  love,  and  for  song  in  bird  and  insect  and  leaf  and  flower, 
the  running  water  and  the  rain,  and  weaves  into  exquisite 
lyrics  what  these  things  t^ll  her.  Other  sources  of  her 
poetry  are  the  pathos  of  life  and  the  affections  of  the 
home.  There  is  a  curious  artlessness  and  almost  naive 
simplicity  about  her  poetry,  which  is  really  a  high  form  of 
art.  Her  latest  volume  shows  these  characteristics.  Here 
are  some  of  the  titles — "  The  Thrush  and  the  Man," 
Cowslips,"  "  Lambs,"  "  The  Train  that  goes  to  Ireland," 
'^The  Irish  Harp,"  "  Christmas  Eve  in  Ireland  "  (deeply 
religious),  "  Holy  Communion." 

MuLHOLLAND  (Rosa).       Vagrant  Verses.      Pp.  155. 
(Kegan  Paul).  188G. 

In  this  volume  the  following  only  are  Irish  in  subject : — 
"  Emmet's  Love,"  "  The  Children  of  Lir,"  Kilfenora," 
♦•St.  Brigid."  ''The  Children  of  Lir"  is  a  lyrical  and 
dramatic  ballad,  occupying  8pp.  "  Emmet's  Love  "  (5pp.). 
The  rest  are  brief  l^'rics. 

  Spirit  and  Dust.     (Elkin,  Mathews).  1908. 

General  Note. — Her  poems  have  many  of  the  character- 
istics mentioned  above  as  being  those  of  Katharine  Tynan—* 
love  of  Ireland,  deep  religious  feeling,  and  love  of  external 


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nature.  They  show  perhaps  a  finer  sense  of  the  beauty 
of  landscape,  their  religiousness  is  less  familiar,  and  they 
are  pervaded  at  times  l3y  a  solemn  thought  fulness.  Most 
of  her  lyrics  are  pure  songs,  simple,  direct,  and  true,  and 
all  but  perfect  in  literary  technique. 

Furlong  (Alice).  Roses  and  Rue.  (Elkin  Mathews). 
2.S.  6d.  1899. 

"  Irish  poems  inspired  by  passion  and  patriotism." — 
Acadeviy,  "  Her  poetry  has  a  delicacy,  pathos  and  music, 
and  much  power  of  painting  a  vivid  picture  in  few  words." 
— (B.  &  E.),  B.  Co.  Dublin.    C.  1875. 

Russell  (Revd.  M.),  S.J.  Erin:  Verses,  Irish  and 
Catholic.  Pp.  110.  12nio.  (Gill).  [1st  ed., 
3880].    2nd,  1887. 

Mostly  youthful  verses,  but  showing  the  same  literary 
skill,  the  same  kindly,  gentle  mind,  the  same  simple 
faith  and  religious  spirit  as  the  later  poems.  "  The 
Irish  Farmer's  Sunday  Morning  "  and  "  The  Irish  Child's 
First  Communion  "  are  somewhat  lengthy  narrative  poems. 
Others,  such  as  "  Down  by  the  Dodder,"  "  A  Picnic  at  Ros- 
trevor,"  "  The  Alio  Unvisited,"  are  literary  jeiix  d' esprit. 
"  The  Little  Flower  Strewers  "  and  another  are  Irish  in 
subject.  The  remainder  are  not.  Father  Russell  has  also 
published  ''Emmanuel,"  "Madonna,"  "Idyls  of  Kill- 
owen,"  and  "  A  Soggarth's  Last  Verses."  This  last^  a 
slim  little  volume  published  by  Burns  and  Oates  in  1911. 
Apart  from  some  personal  poems,  this  contains  only  one 
little  humorous  poem  on  a  subject  distinctively  Irish. 

Probyn  (May).  Pansies:  A  Book  of  Poems.  (Elkin 
Mathews).    2s.  6d. 

"  This  too  small  book  is  a  mine  of  the  purest  poetry,  very 
holy  and  very  refined,  and  removed  as  far  as  possible  from 
the  tawdry  and  the  commonplace." — Irish  Monthly. 

Kavanagh  (Rose).  A  Selection  from  her  Poems. 
Edited  by"  Revd.  M.  Russell,  S.J.  rGill).  Is.  Gd. 
net.  1909. 

Simple  and  delicate  lyrics  inspired  by  the  love  of  Ireland. — 
T.W.R.  Mr.  O'Donoghue,  in  his  Poets  of  Ireland,  1st  ed., 
speaks  of  her  death,  which  took  place  in  1891,  as  "  one  of 


POETRY. 


109 


tlie  greatest  losses  Irish  literature  has  had  to  bear  for  a  long 
time."  The  book  is  prefaced  by  a  gracefully-written  and 
sympathetic  biography  from  the  pen  of  the  Editor. 

Byrne  (W.  A.,  ''William  Dara '')•  A  Light  on  the 
Broom.  (GilD.  2s.  6cl.  2nd  tlioiisand.  [1st  ed., 
Sealy,  Biyers,  1901].  1904. 

Reflective  poems,  mostly  in  lyric  metres,  sounding  most 
often  a  sv.eet,  but  melancholy,  note.  Treating  aspects  of 
life,  and  the  things  of  the  spirit,  but  also  various  subjects, 
national  and  other.  The  st^-le  is  much  above  the  common. 
Singled  out  for  special  praise  by  the  Times  Lit.  Siipj^l.  in  a 
review  of  Cooke's  "  Dublin  Book  of  Irish  Verse." 


OTHER  RECEXT  VOLU^^IES  OF  VERSE. 

AIcDoxxELL  (Randal).      The  Tower  of  St.  Miclian's 
and  Other  Verses.    Pp.  63.    (Gill).    Is.  1902. 

Contains  : — "  Glendalough,"  "  Wolfe  Tone  to  Sarsfield," 
"  Memory  of  Tone,"  "  Land  of  Erin."  Rest  mostly  not 
Irish.  He  also  published  another  little  volume,  '^The 
Perfect  Rest."    (Gill).  Is. 

U'DoNXELL   (Frank  Hugh).       The  Message  of  tlio 
Masters.    (Long).    2s.  6d.  net.    2nd  ed.  1904. 

A  Legend  of  Aileach.  Written  in  rhythm  of  Macaulay's 
ballads.  A  stately  and  stirring  narrative  of  the  historic 
clans  of  Ireland.    Melodious  treason. — (Press.) 

CuiREADoiK.''      The  Music  of  Freedom.     Pj).  105. 
(Cork:  The  Risen  Gaedheal  Press).  1907. 

Langbridge  (Canon).    The  Power  of  Red  Michael  and 
Other  Poems.     (Maunsel),    2s.  6d.  net.  1909. 

Echoes  of  weird  visions,  quaint  legends,  or  grim  tragedy. 
Fantastic  ballads,  old-fashioned  in  manner  though  modern 
enough  in  thought. 

Stacpoole    (H.   de   Vere).       Poems    and  Ballads. 
(MurrajO.  1910. 


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Garvey  (Maura).  A  Handful  of  Bog  Lilies.  (Sealy, 
Biyers).  1910. 

Flower  (Robin).  Eire  and  Other  Poems.  Pp.  66. 
(Locke,  Ellis).    Is.  net.  1910. 

Mr.  Flower  has  the  gift  of  melody  which  gives  a  charm 
to  all  his  little  poems,  singing  of  love,  or  joy,  or  beauty — 
or  of  Ireland,  "  the  grey  land,  the  grey  sky,  and  the  grey 
sea  swell."  Some  of  the  poems  have  appeared  in  Country 
Life  and  the  Academy. 

Fawcett  (W.  J.).  Frederick's  Child  and  Other  Poems. 
Pp.  100.  16mo.  (Belfast :  Davidson  &  McCor- 
niick).  1910. 

Thomson  (J.  G.).  Lays  of  the  Covenant  and  Other 
Poems.  Pp.  64.  (Belfast :  Davidson  &  McCor- 
mick).    Is.  1911. 

MouNTJOY  (Desmond). The  Hills  of  Hell,  and  Other 
Verses.    Pp.  40.    (Xisbet).    2s.  6d.  net.  1911. 

McCarthy  (D.  A.).  Voices  from  Erin,  and  Other 
Poems.    (Sampson,  Loav).    3s.  6d.  net.  1911. 

Patriotic  and  miscellaneous — The  Days  of  the  Gael," 

"  St.  Patrick's  Day  Memories,"  "  Piobert  Emmet,"  "  Fr. 
O'Growney,"  etc. 

Cox  (Eleanor  R.).  A  Hosting  of  Heroes  and  Other 
Poems.     (Sealy,  Bryers).    Is.  1911. 

Gaelic  legend — Cuculain,  Emer,  Mananaan,  by  an 
Irish  poetess  already  well  known  in  America. 

Kelly  (Eleanor  F.).  Shamrock  Sprays.  Pp.  72. 
(Galway :  Connaught  Tribune),  1911. 


IV.-IRISH  MUSIC. 


' '  Dear  music  of  my  counti\y  I  I  cauuot  speak  of  it  without 
enthusiasm.  I  cannot  think  of  it  without  feeling  my  heart  glow 
with  tenderness  and  pride." — (Petrie,) 

*'  Irish  music,  so  sweet  and  sad,  and  low  and  lonely,  comes  with 
a  pathos,  a  melancholy,  a  melody  on  the  pulse  of  the  heart  that 
no  other  music  breathes,  and  while  it  grieves  it  soothes.  It 
seems  to  flow  with  long  complaint  over  the  course  of  ages,  or 
to  gasp  with  broken  sobs  through  the  ruins  and  fragments  of 
historic  thought." — {Henry  Giles,  see  p.  10.) 

"  Irish  songs  are  emanations  from  on  high,  which,  falling  drop 
by  drop  upon  the  soul,  pass  through  it  like  memories  of  another 
world. " — {Ernest  Renan.) 

The  following  list  lays  no  claim  to  be  a  complete  bibliography 
of  Irish  music.  It  is  hoped,  indeed,  that  no  important  collection 
of  Irish  music  has  been  omitted,  but  it  has  been  found  possible 
(and  indeed  useful)  to  mention  only  such  sheet-music  as  is  to 
be  found  in  the  current  catalogues  of  the  music  publishers.  ^ 
Of  my  indebtedness  to  Dr.  Grattan  Flood  and  Father  O'Neill  I 
have  already  spoken  in  the  Preface.  My  best  thanks  arc  also 
due  to  the  authorities  of  the  National  Library,  who  gave  me 
access  to  the  Joly  Collection  of  Music,  and  to  the  Assistants 
wlio  aided  me  in  my  researches  there. 

Abbreviations  : — arr.  =  arrangement  or  arranged  :  accomp.  = 
accompaniment :  ^before  an  item  indicates  that  it  is  to  be  found 
in  the  current  catalogues  of  the  music  publishers.  AY.G.F.  are 
the  initials  of  Dr.  Grattan  Flood,  G.  O'N.  are  those  of  Father 
Geo.  O'Neill,  S.J. 

I. — Collections  of  Irish  Music. 

EARLY  COLLECTIONS. 

By  Dr.  Grattan -Flood,  Mus.D. 

'*  Early  collections  of  Irish  music  are  extremely  scarce.  We 
find  a  few  Irish  airs  in  the  Fitzwilliam  Virginal  Book  as  far 
back  as  the  end  of  tlie  16th  century.  In  1613  an  Irish  dance 
M'as  printed  in  an  English  Collection  called  Parthenia  Inviolata. 

^The  principal  Dublin  music  publishers  are  Messrs.  Pigott, 
Cramer  Wood,  Pohlmann,  and,  to  a  lesser  extent,  Messrs,  Duffy, 
Gill,  and  Browne  and  Nolan. 


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Some  Irish  airs  were  included  in  a  Dutch  music  book  printed 
at  Amsterdam  in  1615,  and  in  at  least  six  other  subsequent 
Dutch  collections — between  1618  and  1647.  Playford's  Dancing 
Master  (1650) — with  the  subsequent  editions  as  late  as  1728 — 
contains  numerous  Irish  airs,  and  there  are  a  few  Irish  dances 
in  a  French  collection  dated  1706.  Irish  melodies  are  to  be 
found  in  D'Urfey's  '  Pills  to  Purge  Melancholy  '  (1698-1720)— 
we  hoped  they  served  his  purpose — and  in  Walshe's  Compleat 
Country  Dancing  Master  (1719),  and  in  many  other  old  dance 
collections  of  those  days.  "We  may  mention,  too.  The  Universal 
Musician  (1738)  which,  as  might  be  expected  from  its  title, 
gathered  some  things  out  of  Ireland. 

Then  there  are  the  ballad  operas — some  thirty  in  number — 
of  the  mid-eighteenth  century.  Some  of  these  teem  with  Irish 
airs.  We  mav  note  especiallv  The  Beggar's  Opera  (1728),  Coffey's 
Beggar's  Wedding  (1729),  Vd  Kane  O'Hara's  Midas  (1760). 
O'Keafi'c's  musical  plays  abound  in  Irish  air.^,  set  to  his  o-^ai 
verses,  and  so  do  those  of  Leonard  MacNallv,  Ihe  informer,  who 
betrayed  Robert  Emmet."— (W.G.F.) 

18x11  CENTURY  COLLECTIONS 

Neale's  Collections  of  Irish  Tunes.  Published  by 
John  and  W.  Neal  (also  Neale,  Neill,  and  O'Neill). 
(Dublin:  Christchurch  Yard).  1726-27. 

Viz.  :— 1.  A  Book  of  Irish  Tunes.  2.  A  Book  of  Irish  and 
Scotch  Tunes.    3.  A  Collection  of  Country  Dances. 

Wright  (Daniel).  A  Choice  Collection  of  Scotch, 
Irish,  and  Welsh  Airs.  (London:  D.  W'right). 
1727. 

"  For  the  violin  and  German  flute."  Irish  airs  selected 
by  Bermot  0 'Conor  of  Limerick  (who  in  1723  translated 
into  English  Keating 's  History  of  Ireland).  "  A  unique 
collection  :  only  one  copy  known." — (W.G.F.)  This  collec- 
tion is  generally  known  as  Aria  di  Camera. 

BuKKK,  Thiiiuuth.  Collections,  viz.:  (i)  Twelve 
Scotch  and  twelve  Irish  Airs.  (2)  Twelve  English 
and  tweh'e  Irish  Airs.  (London:  J.  Simpson'). 
0.  1742-3. 

No.  2  contains  a  few  by  Carolau.  Most  interesting  collec- 
tions. Reprinted  bv  Thoroughgood  (1760)  and  Thompson 
(1783). 


IRISH  MUSIC.  113 

O'Carolan   (Turlough).      Collection  of  Irish  Airs. 
Pp.  28.     (Dublin:  Neale).  1747. 

72  airs,  melody  given  without  words.  The  collection  was 
reprinted  in  1779  as  "  Carolan's  Old  Irish  Tunes,"  4th 
edition,  by  John  Lee.  Hime,  of  College  Green,  issued 
another  edition  in  1783.  There  were  four  editions  between 
1780  and  1800;  and  in  1804  Broderick  and  Wilkinson,  of 
London,  published  an  edition,  but  omitted  names  of  tunes. 

Lee's  Masque.      3  books.       (Dublin :  Samuel  Lee"* 
1753-4. 

A  collection  of  songs,  4  in  each  number. 

Jackson's  Celebrated  Irish  Tunes.     (Dublin  :  Samuel 
Lee).    C.  1765. 

]\rountain's  Hibernian  Catch  Book.     (Dublin  :  Henry 
Mountain).  1778. 
Dedicated  to  the  Hibernian  Catch  Club. 

Lee's  Gentleman's  Catch  Book.     (Dublin:  Anne  Lee). 
178L 

Aird's  Selection  of  Airs.     6  vols.     (Glasgow:  Aird). 
17784799. 
Melody  only. 

McLean's  Selection  of  22  Original  Airs.  (Dublin). 
1780. 

"For  the  pianoforte,  violin  or  flute."  The  originality  is 
not  obvious,  most  of  the  airs  having  been  published  before. 
Airs  mostly  Irish. 

The  Vocal  Magazine.    Pp.  348.    (Dublin  :  Anne  Lee). 
1780. 

1286  songs — no  music. 

O'Brien's  Lusorium.     12mo.     (London :  Denham)- 
1782. 

A  collection  of  convivial  songs  with  music. 

I 


114 


GUIDE  TO  BOOKS   ON  IRELAND. 


The  Musical  Miscellan3^  (Perth:  J.Brown).  8vo. 
1786. 

A  select  collection  of  Scots,  English,  and  Irish  songs  set 
to  music.    A  valuable  but  very  scarce  book. 

Thompson's  Hibernian  Muse.  Obi.  4to.  (London: 
Thompson).  1787-8. 

A  valuable  collection,  containing  37  airs  by  Carolan  and 
67  other  airs. 

Fifty  Favourite  Irish  Airs.  Obi.  folio.  (Edinburgh  : 
John  Brysson).  1791. 

Melody  onlv.  Reprinted  by  A.  Mackintosh,  Edinburgh, 
1807. 

M'Fadyen.  1.  Eepository  of  Scots  and  Irish  Airs. 
Obi.  4to.  (Glasgow).  1793.  For  the  Harpsi- 
chord or  Pianoforte.  2.  Collection  of  Airs  (Eng- 
lish and  Irish).    6  Vols.    (Glasgow).  1795. 

Cooke  (B.).  Selection  of  21  Favourite  Original  Irish 
Airs.    (Dublin:  Cooke).  1794. 

"  Never  before  printed."  Arranged  for  piano,  violin,  or 
flute. 

Forty-Eight  Original  Irish  Dances.  Folio.  (Dublin : 
Hime).    Several  editions.  1796-1804. 

"  Never  before  printed."  "  With  basses  for  the  pianoforte, 
and  proper  figures  for  dancing." 

Bunting  (Edward).'-'  First  collection  appeared  in  1796. 
Ancient  Irish  Music."  Bunting  claimed  this  as 
the  first  and  only  genuine  collection  of  genuine 
Irish  harp  music  up  to  1796."  (London  :  Preston). 
Second  Collection.  (London:  Clementi).  1809. 
Contained  77  airs.  2nd  ed.,  1811.  Dissertation 
on  Irish  harp.  Third  Collection.  Ancient  Music 
of  Ireland.    (Dublin:  Hodges  and  Smith).  1840. 

140  airs,  100  published  for  the  first  time,  with  a  disser- 
tation on  the  antiquity  and  characteristics  of  Irish  music 

*  For  an  account  of  his  life-work  sec  Mrs.  Milligan  Fox's 
''Annals  of  the  Irish  Harpers/'  noted  on  p.  154. 


IRISH  MUSIC. 


115 


and  musical  instruments,  with  some  account  of  various 
eminent  harpers  of  later  times,  and  notices  of  the  more 
remarkable  pieces  of  the  collection.  ' '  Arranged  in  true  harp 
style  for  the  pianoforte."  With  many  he  gives  no  words. 
Bunting  spent  50  years  at  his  collection.  Pie  journeyed 
up  and  down  the  country,  into  the  remotest  places,  chiefly 
Ulster  and  Connaught.  His  object  was  "  to  guard  the 
primitive  air  with  leligious  veneration  "  .  .  .  "  the 
pure,  racy  old  style  of  every  bar  and  note."  Yet  Bunting 
has  treated  the  tunes  much"  more  freely  than  these  profes- 
sions would  lead  one  to  expect. 

By  Same.  The  Ancient  Music  of  Ireland.  Royal 
4to.    (Hodges  Figgis).    30s.  1887. 

Arranged  for  the  pianoforte.  A  re-issue,  Bunting's  third 
and  last  collection,  having  appeared  in  1840. 

Vocal  Magazine.  4  Vols.  (Edinburgh:  C.  Steward). 
1797-8-9,  1800. 

Music  and  words  of  about  100  songs. 

O'Farrell.  1.  Irish  Music  for  the  Union  Pipes.  Pp. 
27  +  53.  Obi.  8vo.  (London).  C.  1797-1800. 
2.  Pocket  Companion  for  the  Irish  Pipes.  4  Vols. 
Obi.  8vo.  Pp.  168  +  148.  A  melody  to  a  page; 
sometimes  two.  1804-1810. 

Very  scarce.  2  is  described  as  ^'  a  grand  selection  of 
favourite  tunes,  both  Scotch  and  Irish,  adapted  for  the 
pipes,  flute,  flageolet  and  violin,  some  of  which  was  never 
before  published,  with  some  favourite  duets  for  the  above 
instruments."  Only  the  tune  is  given,  no  notes  or  accom- 
paniment. 1 — "  Comprising  a  variety  of  the  most  favourite 
slow  and  sprightly  tunes,  set  in  proper  stile  (sic)  and 
taste,  with  variations,  and  adapted  likewise  for  the  German 
flute,  violin,  flagelet  (sic),  piano  and  harp.  Also  a 
treatise  with  the  most  perfect  instructions  ever  yet  pub- 
lished for  the  pipes."  The  Pocket  Companion  contains 
many  rare  Irish  tunes.  The  treatise  on  the  pipes  is  pro- 
bably the  most  valuable  work  on  the  subject. 

Adams  (A.)  :  Musical  Repository.  (Glasgow).  12mo. 
pp.  278.  1799. 

Favourite  Scotch,  English,  and  Irish  Songs,  set  to  music. 


HQ  GUIDE  TO  BOOKS   ON  IRELAND. 

McGouN.  1.  Repository  of  Scots  and  Irish  Airs.  Obi. 
4to.  (Glasgow).  1799.  For  the  German  Flute 
or  Fife.  2.  Repository  of  Scots  and  Irish  Airs. 
2  Vols.  (Glasgow).  1803.  For  the  Harpsichord 
or  Piano. 

19th  century  collections. 

Crotch  (William).  Mus.I).  Specimens  of  Various 
Styles  of  Music.  3  Vols.  Folio.  CLondon:  R. 
Birch  all).    1800,  1804,  1820. 

Lectures  delivered  by  Professor  Crotch  at  Oxford  in  the 
years  named.  The  Irish  airs  are  Nos.  18  to  76.  The  three 
vohimes  were  reprinted  by  Welsh  and  Hawes  in  1822. 

MuLHOLLAND  (Johu  Macphcrson) .    A  Selection  of  Irish 
and  Scots  Tunes.    (Edinburgh).  1804. 
Not  to  be  confounded  with  John  Mulholland  of  Belfast. 

HoLDEN  (Smollet),  Music  Publisher,  Dublin.  1.  Col- 
lection of  Old-Established  Irish  Slow  and  Quick 
Tunes.  C.  1804-6.  2.  Collection  of  the  Most 
Esteemed  Old  Irish  Melodies.  (Dublin).  C.  1808. 
3.  Favourite  Irish  Airs.  Arranged  or  Harp  or 
Piano.  2  Vols.  (London).  1810.  4.  Old  Irish 
Melodies,  with  New  Words  arranged  as  Songs, 
Duets,  or  Glees,  with  Accompaniment  for  Piano, 
Harp,  Flute,  or  Violin.    (Dublin).  1806-12. 

The  words  of  No.  4  are  by  I.  S.,  Esq.  60  melodies  in  all. 
Many  of  the  words  and  melodies  are  altered  from  2  above. 
1  is  arranged  for  harp,  piano,  violin,  flute,  or  bagpipes.  2, 
With  new  words,  arranged  as  songs,  duets,  or  glees. 
Accompaniment  for  piano,  flute,  or  violin.  Two  books. 
30  airs  in  each.  In  2  and  4  the  words  are  un-national,  and 
somewhat  old-fashioned  and  sentimental,  e.g.,  Quit  not 
yet  the  shady  bower.  The  moon  throws  her  shadowy 
light  on  the  hill,  0,  will  you  sit  in  the  bower  with  me? 
Oh,  pleasant  was  the  moon,  etc.  The  name  of  the  old  Irish 
melody  is  given,  nothing  more.  Moore  drew  a  good  deal 
on  these  collections.  3  has  90  airs  in  each  volume.  Some 
are  well  known,  e.g.,  Cruiskeen  Lawn,  Savournah  (sic) 
Deelish,  Kakes  of  Mallow.  In  some  cases  the  air  is  given 
with  variations.    No  words. 


IRISH  MUSIC. 


117 


OwENSON  (Miss  Sydney).  Twelve  Original  Hibernian 
Melodies.    Folio.    (London:  Preston).  1805. 

With  Eiigiisli  words.  Arranged  for  voice,  with  piano 
accompaniment.  Miss  Owenson  was  afterwards  the  famous 
Lady  Morgan. 

Fitzmaurice"s  New  Collection  of  Irish  Airs.  G  nos. 
(Edinburgh).  1805. 

For  piano  or  Union  Pipes.    26  airs.  • 

HiME.  Selection  of  Original  Irish  Airs,  never  before 
printed.    (Dublin).  1805-8. 

Hime  was  a  Dublin  publisher.  Arranged  for  the  piano  and 
violin  or  flute.  An  interesting  collection,  but  the  announce- 
ment of  "  never  before  printed  "  is  opposed  to  facts. 
W.G.F. 

Moore's  Irish  Melodies.  The  date  of  their  first  issue 
was  April  5th,  1808;  the  publisher  was  William 
Power,  of  Westmoreland  Street,  Dublin;  the  1st 
number  contained  12  airs.  Nos.  1  to  7  appeared  at 
intervals  between  1808  and  1818,  all  puMished  by 
William  Power,  the  symphonies  by  Sir  John 
Stevenson.  Nos.  8  and  9  were  published  in  London 
by  James  Power  in  1821,  symphonies  and  accom- 
paniments by  Sir  Henry  Bishop.  But  in  June  of 
the  same  year  a  pirated  edition  was  published  in 
Dublin  by  W.  Power,  accompaniments  by  Sir  J. 
Stevenson.  Lastly  No.  10,  with  a  Supplement, 
appeared  in  1834.  An  account  of  the  modern 
editions  will  be  found  on  pp.  133-4. 

Crosby  (B.)  Irisli  ihisical  Repositorv.  Pp.  288. 
8vo.    1808.  (London). 

^'  A  choice  selection  of  esteemed  Irish  songs  [91  in  all] 
adapted  for  the  voice,  violin  and  German  flute."  The 
bare  melody  is  given,  but  some  of  the  songs  are  arranged 
for  three  voices.  Valuable  as  a  collection  of  the  original 
"  stagc-Irish  "    type.      "  St.    Paddy    with    whiskev  he 


118 


GUIDE  TO  BOOKS   ON  IRELAND. 


suckled  me,  among  the  swoet  boys  of  Ki-la-lah,"  "With 
my  smalhilow,  bulberoo,  ditheroo,  whack,"  "  'Tis  whiskey 
I  adore."  Contains  vulgar  songs  like  Mr.  Mullins  and 
Mrs.  Whack,  Corporal  Casey,  Paddy  0 'Blarney,  Dennis 
Delany,  Captain  Megan.  Yet  contains  songs  like  "  There's 
a  dear  little  plant,"  and  some  sentimental  songs.  No 
author  of  words  or  airs  indicated.  Name  of  original  air 
given  in  only  a  few  cases.  Of  antiquarian  interest.  It  is 
now  rather  scarce. 

Murphy  (John).  Irish  Airs  and  Jigs,  with  Variations. 
Folio.    1809.    No  imprint.    (Glasgow  or  Paisley). 

Arranged  for  the  piano,  violin  aud  'cello.  J.  M.  was  a 
performer  on  the  Union  Pipes  at  Eglinton  Castle.  40  pp., 
very  closely  crowded.  A  scarce  volume,  by  a  wandering 
Irish  piper. 

Power  (W.).  Musical  Cabinet.  Pp.  54.  Obi.  8\o. 
(Dublin),  1810. 

For  the  German  flute,  flageolet  or  violin.  Contains  songs, 
marches  and  dances.  No  accompaniment,  merely  the  air. 
Oiigin  of  airs  not  stated.  Many  non-Irish  melodies. 
"  Of  no  particular  interest."  W.G.F. 

MuLHOLLAND  (Johu).  A  Collection  of  Irish  Airs.  2 
Vols.    (Belfast).  1810. 

Adapted  for  the  harp,  violin,  flute  and  pipes.  Dedicated 
to  Charles  Earl  O'Neill,  K.P.  These  two  volumes  are 
of  considerable  interest,  but  are  now  very  scarce. 

Hartstonge  (M.  W.).  Minstrelsy  of  Erin.  16mo. 
(Dublin),  1812.    Edinburgh.  181G. 

Poems,  lyrical  and  descriptive.    No  music. 

TnoMsoN  (Geo.).  A  Select  Collection  of  Irish  Airs. 
2  Vols.  Folio.  (Edinburgh  and  London  :  Pres- 
ton). 1814-16. 

^'  Airs  united  to  characteristic  English  poetry,  with  sym- 
phonies and  accompaniment  for  the  piano,  violin  and  'cello, 
composed  by  Beethoven."    See  notice  under  Beethoven. 


IRISH  MUSIC. 


119 


FiTzsiMONS  (Edward).  A  Selection  of  Original  Melo- 
dies of  Erin.  Folio.  (Dublin:  Goulding). 
1814-16 

Symphonies,  etc.,  by  Dr.  J.  Smith,  with  characteristic 
words  by  E.  Fitzsimons.  Scarce.  "  Fitzsimons  was  a 
poor  verse  maker,  and  his  colleague.  Dr.  John  Smith,  was 
an  indifferent  musician,  although  Professor  of  Music  in 
Dublin  University  from  1845  till  his  death,  in  1861." — 
(W.G.F.) 

KiNLocH  (Monro).  One  Hundred  Airs.  Obi.  8vo. 
(London:  Goulding).  1815-6. 

Principally  Irish.  Selected  and  composed  by  Lieut. -Gen. 
Dickson,  arranged  for  piano,  violin,  flute,  etc.,  by  M. 
Thomson,  Organist  of  St.  Nicholas',  Newcastle-on-Tyne. 

MacCullagh  (E.),  Music  Publisher,  Dublin.  Collec- 
tion of  Irish  Airs.    3  Vols.    Dublin.  1821. 

For  the  flute,  violin  or  flageolet.  Arranged  as  duets  or 
solos.    Long  since  out  of  print. 

O'Oallaghan  (Hon.  George).  Ancient  Irish  Airs.  6 
Nos.    (Dublin).    Folio.  1822-31. 

Symphonies  and  accompaniments  by  Sir  J.  Stevenson. 
The  1st  No.  was  issued  in  1822,  and  the  5th  in  June,  1831. 
"  An  interesting  collection,  now  very  scarce.  The  words 
are  bv  the  Hon.  George  O'Callaghan,  and  are  rather 
vapid.'"— (W.G.F.) 

M'CuEEKY  (J.).  A  Selection  from  the  Ancient  Music  of 
Ireland.  Pp.  xx.  +  208.  (Petersburg,  U.S.A. : 
Yancey  &  Burton).  1824. 

Arranged  for  fluto  or  violin.  Some  of  the  melodies, 
"  adapted  to  American  poetry,"  chiefly  composed  by  T. 
M'C.  .  .  .  Historical  and  critical  observations  on  an- 
cient Irish  music. 

Smith  (Pv.  A.).  The  Irish  Minstrel.  Pp.  106.  Large 
8vo.    (Edinburgh).    2  eds.  1826. 

A  selection  from  the  vocal  melodies  of  Ireland,  ancient 
and  modern,  arranged  for  the  piano.  Suppressed  by 
Power,  Moore's  publisher,  for  infringement  of  copyright. 


120  GUIDE  TO  BOOKS  ON  IRELAND. 

The  words  of  these  songs  were  mostly  written  by  Scotch- 
men : — D.  Weir  of  Greenock,  Alexander  Laing,  R.  Hogg, 
James  Hogg  the  Ettrick  Shepherd,  H.  Scott  Riddell, 
Tannahill,  Bayne,  etc.  "  The  airs  (103)  are  well  chosen 
and  many  of  them  are  rare.  This  is  a  scarce  volume." — 
(W.G.F.) 

Egan  (Charles).  A  Selection  of  National  Lyrics. 
43  pp.    4to.    (Dublin).  1826. 

The  poetry  by  Ed.  Dowling.  Melodies  arranged  with 
accompaniment  for  the  harp,  piano,  or  royal  portable  Irish 
harp  by  Ch.  Egan,  professor  of  the  harp  to  H.R.H.  the 
Princess  Augusta.  "  Only  of  antiquarian  interest.  Very 
scarce."— (W.G.F.) 

Clinton  (J.).  1.  Two  Hundred  Irish  Melodies  for  the 
Flute.  (London:  Robert  Cocks).  1840.  2.  Gems 
of  Ireland.  1841. 

200  airs  from  Carolan,  Connolan,  etc.,  arranged  for  the 
flute. 

Crawford  (Mrs.  Julia).  Irish  Songs,  set  tu  Music  by 
F.  Nicholls  Crouch.  1840. 

F.  W.  N.  Crouch  was  in  his  time  a  well-known  musical 
composer.  He  lectured  on  Irish  music  and  wrote  music 
for  a  large  number  of  Irish  songs.  One  of  his  compositions 
has  achieved  lasting  popularity,  "  Kathleen  Mavourneen," 
as  also  its  companion  song,  "  Dermot  Asthore." 

Guernsey  (Wellington).  Songs  of  Ireland  (Lon- 
don: Metzler).    N.d.  (1850). 

51  songs  newly  adapted  and  arranged  \^ith  symphonies 
and  accompaniments.  Words  by  T.  Campbell,  Furlong, 
Davis,  Curran,  Griffin,  Ogle,  Lysaght,  Banim,  Callanan, 
and  others.  None  by  Moore.  A  fine  selection  (except, 
"  I'll  never  get  drunk  any  more  varied  in  kind. 
Original  names  of  airs  not  given.  Moore's  songs  were 
copyright,  and  hence  could  not  be  used. 

Alexander  (I.).  Flowers  of  the  Emerald  Isle.  (Lon- 
don and  Dublin).    Circa  1840. 

"  200  favourite  Irish  melodies,  including  all  the  most 
celebrated  airs  by  S.  Lover,  and  Moore's  National  Melodies, 
arranged  for  the  flute  or  violin."  London  ;  James  Alexander, 
101  Leadenhall  Street.  "  Of  no  particular  value.  A 
scarce  volume  now  rarely  met  with." — (W.G.F.) 


IRISH  MUSIC. 


121 


Crouch  (F.  W.  Nicliolls).  Songs  of  Erin.  (London). 
1841. 

A  collection  of  original  Irish  melodies.  Words  by  Desmond 
Ryan.  Melodies  arranged  and  adapted  by  F.W.N. C.  12 
songs — Eveleen  0 'Moore,  The  Sunny  Days  of  Old,  The 
True  Shamrock,  The  Bride  of  Athlone,  The  Pulse  of  my 
Heart,  The  Rakes  of  Mallow,  etc.  For  Crouch,  see  also 
under  Crawford  (Mrs.  Julia). 

Heffernan  (W.  J.).  1.  Erin's  Sacred  Harp.  Pp.  82. 
(Novello).  N.d.  12  Melodies.  The  Music,  for  1, 
2,  or  3  voices,  by  W.  J.  H.  The  Poetry  on  different 
religious  -subjects  by  Rev.  J.  Fitzgerald,  P.P.,  of 
Castletown  Delvin,  Ireland.  2.  Sacred  Melodies. 
1841.    A  similar  collection. 

"  Of  no  particular  interest." — (W.G.F.) 

Hudson  (W.  E.)  :  National  Music  of  Ireland.  1810- 
1842. 

Airs  and  words  and  piano  accompaniment,  with  an  account 
of  each  tune.  Printed  in  The  Citizen  and  the  Duhlin 
Monthly  Magazine  issued  by  William  Elliot  Hudson. 

Fitzgerald  (Rev.  Joseph).  The  Old  Songs  of  Old  Ire- 
land.   Pp.  63.    4to.    (London).  1843. 

Words  by  Revd.  J.  F.  Symphonies  and  accompaniments 
by  Wellington  Guernsey.  12  songs.  The  airs  are  not  the 
most  familiar.  Words  of  no  great  value.  Father 
Fitzgerald  was  P.P.  of  Castletown  Delvin,  and  subsequently 
of  Rahan.  King's  Co.,  where  he  died  in  1856.  See  also 
under  Heffernan.  "  Merelv  of  antiquarian  interest." — 
(W.G.F.) 

IluK.xcASTLE  (F.  W.)  :  Music  of  Ireland.  Folio.  3 
parts.    Pp.  109  folio.    London.  1844. 

*'  As  performed  in  Mr.  H.'s  Irish  ent-ertainments,  in  which 
are  introduced  the  Bardic  and  Connaught  Caoines,  songs, 
fairy  chant,  rural  ballads,  songs  of  occupation,  marches, 
jigs,  etc.  Harmonized  and  arranged  with  accompaniments 
for  the  harp  or  piano."  He  says  he  gives  these  airs  "  as 
I  received  them  from  the  natives  of  Ireland."  He  takes 
some  translations  from  Hardiman  {q,v,).  Several  of  the 
songs  are  given  in  Irish  (phonetically  spelled).    Many  are 


122 


GUIDE  TO  BOOKS   ON  IRELAND. 


given  with  full  parts  for  several  voices.  In  other  cases 
the  choruses  are  given  in  parts.  An  interesting  collection. 
'•'A  tolerably  good  collection,  having  several  novelties. 
Manv  of  the  airs  were  taken  down  at  first  hand." — 
(W.G.F.) 

Lynch  (John  P.).      Melodies  of  Ireland.     6  books. 
(Dublin:  Pigott).  1845. 

Arranged  for  piano.  About  120  airs,  chiefly  dance  music. 
No  words  with  songs.  Aims  to  be  "a  collection  of  Irish 
airs  arranged  in  their  true  and  original  form  without 
additions  of  any  kind,  in  a  style  that  will  answer  for 
finished  performers,  without  being  beyond  the  reach  of 
the  most  ordinary  capacity."  Claims  to  be  the  first  col- 
lection of  this  kind.  Includes  "  very  many  beautiful  airs 
that  have  never  before  been  published."  Originally  pub- 
lished in  monthly  numbers,  23  of  v/hich  appeared,  with 
5  airs  in  each  number.  Long  since  out  of  print.  Lynch 
was  a  Dublin  musician. 

The  Spirit  of  the  Nation.     Pp.  317.     4to.  (Duffy). 
1845,  1858,  etc. 

Ballads  and  songs  by  writers  of  the  "  Nation,"  set  to 
music.  "  Two-thirds  of  the  verses  in  this  volume  have 
n-ever  been  reprinted  from  the  new^spaper  till  now  [1845] , 
the  remaining  third  are  re-edited  from  the  original  Spirit 
of  the  Nation  [1843] .  Contains  17  airs  specially  com- 
posed for  this  volume,  and  22  old  Irish  airs  arranged  for 
the  voice  with  piano  accompaniment.  But  not  all  the 
poems  given  are  set  to  music.  Finely  edited,  with  Indexes 
(1)  to  Irish  plirasGS  used  in  work,  (2)  to  names  of  places, 
(3)  to  names  of  persons,  (4)  to  the  airs,  (5)  to  the  poems. 
A  subsequent  edition  contained  10  songs  newly  set  to 
music  by  Prof.  Glover.  A  new  edition,  by  Dr.  Grattan 
Flood,  with  an  Introduction,  giving  the  sources  of  the  airs, 
was  published  by  James  DuSy  and  Co.  in  1911.  Price, 
7s.  6d. 

FoRDE  (William).  300  National  Melodies  of  the  British 
Isles.    3  vols. 

Vol.  III.  contains  100  Irish  airs,  arranged  for  piano.  No 
notes  to  indicate  origin  of  air,  nor  any  other  information. 
(London  :  Cocks  and  Co.).  1850. 


IRISH  MUSIC. 


123 


By  the  Same.  Encyclopaedia  of  Melody.  6  vols.  3,0B0 
airs.  (Only  the  Melody).  (London:  Cocks  and 
Co.).  1846. 

"  Among  the  Irish  airs  are  about  a  dozen  that  had  not 
previously  been  recorded.  Forde  was  a  friend  of  Thomas 
Davis,  and,  like  him,  a  Corkman.  He  died  in  1850. 
Both  works  are  scarce,  and  are  long  since  out  of  print." — 
(W.G.F.) 

CoNRAN  (M.).  National  Music  of  Ireland.  (London: 
Johnson).    2nd  ed.,  1850.    [1st  ed.,  1846.  Duffy]. 

Containing  the  history  of  the  Irish  Bards,  the  National 
Melodies,  the  Harp,  and  other  musical  instruments  of 
Ireland.  "  An  excellent  little  compendium  for  the  time 
in  which  it  was  written.  Rather  scarce,  and  long  since 
out  of  print."— (W.G.F.) 

Henderson  (John),  of  Belfast.  Flowers  of  Irish 
Melody.  2  vols.  96  pp.  4to.  and  192  pp.  8vo. 
(Belfast  and  Dublin).    1847.    (7th  ed.,  1853). 

A  selection  of  popular  Irish  songs.  The  music  by  eminent 
composers.  Arranged  for  the  voice,  flute,  violin,  etc. 
Names  of  airs  and  authors  of  words  not  given.  Some  are 
comic — Captain  Mulligan,  Kooney  Flinn,  Paddy  Carey, 
Paddy  Croker  (vulgar),  Paddy  O'Rigge. 

O'Daly  (John).  Poets  and  Poetry  of  Munster. 
(Duffy).    1849.    2nd  ed.,  1850. 

Irish  and  English  words,  Mangan's  translations.  Melodies 
given  without  piano  accomipaniment.  "  They  are  too 
frequently  in  a  rambling  or  over-adorned  harp  style." — 
(G.  O'N.)    A  new  edition  was  issued  by  Duffy  in  1885. 

By  the  Same.  Poets  and  Poetry  of  Munster.  2nd 
Series.  With  Translations  by  Dr.  Sigerson.  8vo. 
(Dublin).  1860. 

The  second  series  is  now  extremely  scarce,  and  is  out  of 
print. 

=^"Callcott  (W.  Hutchins).  Irish  Melodies.  (Auo;ener). 
2s. 

100  celebrated  airs  arranged  by  W.H.C.  Originally  pub- 
lished by  Addison  and  Hollier  in  1851.  "Of  no  particular 
merit.    Callcott  died  in  1882."— (W.G.F.) 


124  GUIDE  TO  BOOKS  ON  IRELAND. 

Wilson  (Jas.).  Musical  Encyclopaedia.  (London). 
New  ed.  1852. 

*'  Being  a  collection  of  the  approved  English,  Scottish,  and 
Irish  songs,  with  appropriate  music,  adapted  to  the  voice, 
piano,  etc.  To  which  is  prefixed  an  elaborate  essay  on  the 
first  principles  of  music,  by  Wm.  Grier."  The  work  was 
originally  published  in  1835. 

SuRENNE  (J.  T.).  Songs  of  Ireland.  Pp.  xxiv.  +  156. 
Large  8vo.    (Edinburgh,  etc.).  1854. 

Introduction  by  G.  F.  Graham,  giving  critical  survey  of 
the  characteristics  of  Irish  minstrelsy.  Without  words. 
Arranged  for  piano.  Contains  223  melodies.  Carefully 
indexed.  A  revised  edition  was  brought  out  by  Bussell 
of  Dublin,  edited  by  Francis  Kobinson,  Mus.D.,  in  1860. 
"  This  is  an  admirable  collection,  but  out  of  print." — 
(W.G.F.) 

Petrie  (Geo.),  Ancient  Music  of  Ireland.  Pp.  xxiv. 
+  196.  Folio.  (Dublin :  Society  for  the  Pre- 
servation of  the  Melodies  of  Ireland).  1855. 

Chiefly  valuable  for  the  learned  dissertations  on  the  genesis 
of  the  airs.  A  supplement  was  issued  (1882)  containing 
34  airs.  These  two  collections  are  arranged  for  the  piano. 
Both  are  now  scarce,  and  have  not  been  reprinted.  The 
complete  Petrie  collection  was  not  issued  until  1902-5  by 
Sir  Charles  Villiers  Stanford  (q.v,). 

White  (P.  F.),  Mus.D.  Legendary  Ballads  (Lon- 
don). 1857. 

Six-  numbers.  Songs  with  titles  such  as  Dreaming  Norah, 
The  Nervous  Irish  Maid,  Maurye  Mavourneen,  Song  of  the 
Mermaid.  Set  to  old  airs.  "  Of  no  particular  value.  Out 
of  print.  Dr.  P.  White  (1795-1875)  was  a  native  of  Co. 
Waterford,  and  he  arranged  an  Irish  opera,  "  Comala." 
He  was  a  well-known  lecturer  on  Irish  Music,  and  got  a 
civil  list  pension."— (W.G.F.) 

Levey  (R.  M.).  The  Dance  Music  of  Ireland.  2  vols. 
(London).  1858-73. 

"  Consisting  of  upwards  of  100  national  jigs,  reels,  horn- 
pipes, etc.  Arranged,  with  easy  basses,  for  the  piano  (the 
treble  lino  to  suit  violin  or  flute)."    R.M.L.  was  director 


IRISH  MUSIC. 


125 


of  music  to  the  Theatre  Royal  and  Leader  of  the  Philhar- 
monic and  Ancient  Concert  Societies  of  Dublin.  He  says 
in  the  preface  to  the  1st  volume  : — "  The  present  collection 
is  but  a  portion  of  a  mass  of  music  obtained  at  different 
intervals  Huring  30  years  of  my  life  in  various  parts  of 
Ireland,  and  noted  down  chiefly  from  fiddlers  and  pipers." 
Many,  though  not  all,  of  these  airs  are  here  published  for 
the  first  time.  He  knows  the  date  and  the  author  of  only 
two  of  them,  so  old  are  thev.  "  An  excellent  and  popular 
collection."— (G.  O'N  :)    Reprinted  in  1908. 

One  Hundred  Songs  of  Ireland.    Pji.  64.     (Boston  :  0. 
Ditson).  1859. 

Music  and  words. 

Ogden.    Gems  from  Onld  Ireland.    London.  1860. 

An   ephemeral  selection,   loug   since   out   of  print." — 
(W.G.F.) 

Davidson's  Musical  Miracles.     (London:  Davidson). 
1861. 

120  Songs  of  Ireland.  Music  and  words.  "  A  fairly  repre- 
sentative collection  of  Anglo-Irish  songs  with  music.  It  is 
now  scarce." — (W.G.F.) 

Hughes  (P.  H.).     Gems  of  the  Emerald  Isle.  1861. 
(London:  Blockley).     2s.  6d.  nett. 

Including  a  collection  of  ancient  Irish  jigs,  country  dances, 
etc.  100  airs  without  words.  One,  two,  or  three  bars 
only  of  each  air  given,  with  accompaniment  for  piano. 
Gives  old  name  of  air.  Compiled  "  from  the  most 
authentic  sources."  The  20th  edition  was  published  in 
1880.    Reprinted  in  1907. 

O'Brien  (Arthur).    Old  Songs  of  Ireland,     Pp.  94. 
4to.     (London:  Boosey).  1865. 

Collection  of  50  songs  and  ballads  with  the  original  words 
and  music.  Arranged  and  adapted  by  A,  O'B.  Author 
of  words  rot  always  mentioned,  but  they  are  mostly  well- 
known  songs  by  Moore,  Griffin,  Ogle,  etc.,  such  as  Bells 
of  Shandon,  Kitty  of  Coleraine,  Groves  of  Blarney,  R6ism 
Dubh,  Garryowen,  Girl  I  left  behind  me. 


126 


GUIDE  TO  BOOKS   ON  IRELAND. 


^^MoLLOY  (J.  L.)..    Songs  of  Ireland.    (Boosey.)  [1873]. 

Enlarged  edition  by  Hatton  (J.  L.)  and  Molloy.  1882. 
(Boosev.  2s.  6d.,  paper  cover;  4s.  cloth.  (The  Royal 
Ed.).  "  Comprising  the  most  favourite  of  Moore Irish 
melodies  and  a  large  collection  of  old  songs  and  ballads. 
No  comic.    78  of  Moore's;  30  others.    Popular  in  style." 

^= Joyce  (P.  W.)  Ancient  Irish  Masic.  Pp.  ix.  +  104. 
4to.  (Gill).  3s.  Fourth  ed.,  1890.  NeAv  ed., 
1901. 

100  airs  never  printed  before.  Harmonies  by  Prof.  Glover. 
An  account  of  each  tune  is  given.  "  A  capital  book  for 
the  study  of  Irish  folk  music.  Originally  issued  in  1873." 
—(W.G.F.) 

Joyce  (P.  W.).    Irish  Peasant  Songs  in  the  English 
Language.    Crown  8vo.    (Gill).    6d.,  paper. 

The  words  set  to  the  proper  old  Irish  airs. 

^Hoffmann  (Francis).  Ancient  Music  of  Ireland  from 
the  Petrie  Collection.  Arranged  for  the  Piano. 
Pp.  138.  (Dublin:  Pigott).  1877. 
Messrs.  Pigott  have  recently  published  a  new  edition  of 
the  above.  "It  is  a  musicianlv  and  sympathetic  piece  of 
^vork."— (G.  O'N.) 

Counsel  (Edward).  Melodies  of  Erin.  (Melbourne). 
1889-91. 

With  piano  accompaniment.    Words  by  Moore  and  others. 

*Leng  (John  &  Co.),  Dundee.  The  People's  Irish 
Songs.    2  parts.    Id.  each. 

Words,  tonic  sol-fa  and  staff  notation  and  simple  accom- 
paniment. Each  part  contains  about  40  songs,  well  chosen 
on  the  whole.  Moore  and  Lover  are  best  represented.  No 
stage -Irish  comics  except  perhaps  "  Barney  Brallaghan's 
Courtship."    Very  good  value. 

Miles  (Alfred  H.).  The  Al  Book  of  Irish  and  Welsh 
Songs.     (Simpkin).  8d. 

50  songs  (34  of  them  Irish)  with  new  symphonies  and 
accompaniments  by  J.  T.  Field.  Words  by  Moore  (chiefly), 
Colman.  Lee,  Lysaght,  Lover,  Waller  and  others.  All  very 
well  known. 


IRISH  MUSIC. 


127 


*GooDMAN  (P.).  The  Irish  Minstrel.  (Gill.)  3  parts. 
Each  Id. 

A  collection  of  songs  for  use  in  Irish  schools.  Approved 
by  National  Board.  Tonic  sol-fa.  "  Arrangements  fairl}^ 
good."— (W.G.F,) 

The  School  and  Home  Song  Book.    (Falconer).  1888. 

Irish  Choruses  for  Men's  Voices.  (Gill).  Is.  6d.  net. 
1906. 

*Graves  (Alfred  Percival)  and  Stanford  (Sir  Ch. 
Villiers).  Songs  of  Old  Ireland.  (Boosey).  5s., 
paper  cover;  7s.  6d.,  cloth.  [1882]. 

Selections  from  the  Petrie  Collection  of  1857.  50  melodies. 
Words  by  Graves,  but  founded  on  Celtic  or  Anglo-Irish 
originals.  A  few  of  the  songs  are  from  Bunting  and  a  few 
from  Joyce. 

^Graves  (Alfred  Percival)  and  Stanford  (Sir  Charles 
Villiers).  Irish  Songs  and  Ballads.  (Novello). 
4s.  [1893]. 

Selections  from  the  Petrie  Collection  of  1857.  Words  by 
Graves.  Mostly  country  subjects,  but  contains  Chieftain 
of  Tyrconnell,  The  Hero  of  Limerick,  Sweet  Isle,  Arran- 
more  Boat-Song.  "  This  takes  rank  among  the  very  best 
efforts  to  collect  and  arrange  Irish  airs  in  song  form.  There 
is,  however,  some  lack  of  simplicity  and  naturalness  in  the 
accompaniments,  and  it  cannot  be  said  that  the  collection 
has  achieved  a  great  popular  success." — (G.  O'N.) 

*Graves  (Alfred  Percival).  The  Irish  Song  Book. 
With  Original  Irish  Airs.  Eighth  Impression. 
(New  Irish  Library).   (Unwin).  "Cloth,  2s.  1908. 

120  melodies.  "  Some  of  these  are  excellent,  but  the  col- 
lection seems  meant  for  English  rather  than  for  Irish 
audiences." — (G.  O'N.)    Originally  published  in  1894. 

**Graves  and  Wood  (Charles).  Irish  Folk  Songs. 
(Boosey).     3s.  Gd.,  paper  cover.  [1897]. 

"25  old  Irish  melodies  hitherto  comparatively  unknown." 
Words  by  Graves.  Eight  of  the  songs  can  also  be  had 
separately,  price  26.  each.    These  songs  are  taken  from 


128 


GUIDE  TO  BOOKS   ON  IRELAND. 


Bunting,  Petrie,  Surenne,  Joyce,  and  from  a  collection 
of  North  of  Ireland  airs  made  by  Miss  Honoria  Gallwey. 
15  out  of  the  25  are  derived  from  MS.  sources  or  from 
volumes  long  out  of  print.  "  Some  charming  items;  but 
Mr.  Graves'  words  do  not  always  ring  quite  true,  and  the 
accompaniments  do  not  always  seem  to  grow  naturally 
from  the  tune."— (G.  O'N.) 

Glover  (Professor  J.  W.).     Ten  Irish  Songs.  ^NFiisio 
4to.    (Duffy).    Is.    Current  Catalogue. 

Viz.  : — Come  to  Glengarriff,  Bells  of  Shandon,  Hy  Brasail, 
Kate  of  x\raglen,  Emigrant's  Song,  Woods  of  Kylinoe,  The 
Exile,  Banks  of  the  Lee,  Kate  of  Garnaville,  The  Peasant's 
Bride. 


RECENT  COLLECTIONS. 

^\\roFFAT  (Alfred).  The  Minstrelsy  of  Ireland. 
(Augener).  6s.,  cloth :  4s.,  paper.    [1897].  Srded. 

206  Irish  songs  adapted  to  their  traditional  airs,  arranged 
for  voice  with  piano  accompaniment.  "  The  best  modern 
collection  of  Anglo-Irish  songs." — (W.G.F.)  Supplemented 
by  historical  notes  on  the  airs.  Words  by  IMoore  (chiefly), 
Lover  and  many  others.  Songs  of  a  national  and  patriotic 
character  are  almost  excluded.  The  historical  notes  are 
scholarly,  but  need  revision. — (W.G.F.) 

*AIoFFAT  (Alfred).  202  Gems  of  Irish  Melody  (without 
Words).  Pp.80.  Full  Music  size.  (Bayley  and 
Ferguson^  2s. 

Arranged  for  piano,  harmonium,  or  American  organ.  A 
Collection  of  Irish  Folk-music,  consisting  of  songs — tradi- 
tional and  popular;  reels;  jigs;  pipe  airs,  and  other 
measures.  Includes  a  few  of  the  airs  used  by  Moore 
among  many  others  of  various  kinds,  as  also  many  tunes 
from  scarce  18th-century  printed  books. 

*MoFFAT  (Alfred).  Gems  of  Irish  Song.  (Bayley  and 
Ferguson).    Paper,  2s.;  cloth,  3s.  6d.  net. 

Edited  and  arranged  with  piano  accompaniment,  by  A.M. 
Voice  part  in'  staff  and  tonic  sol-fa.  Formerly  known 
under  the  name  of  "  Fifty  Gems  of  Irish  Song."    But  the 


IRISH  MUSIC. 


129 


book  has  been  much  enlarged.  The  whole  volume  has 
been  revised,  the  accompaniments  re-written,  and  the 
plates  freshly  engraved.  A  good  selection,  including  songs 
sentimental,  humorous,  and  a  few  patriotic.  No  stage- 
Irishism. 

'^Moffat  (Alfre'd).    Six  Irish  Folk-Songs.  rAugener). 
Staff,  Is.    Tonic  Sol-fa,  4d. 

Arranged  for  three  female  voices — Viz.  :  The  Angel's 
Whisper;  The  Last  Rose  of  Summer;  Go  where  Glory 
waits  thee;  In  a  Cradle  Bright;  Kitty  of  Coleraine;  The 
Minstrel  Boy. 

Moffat  (Alfred),  J.  J.  Johnson,  etc.    Irish  National 
Songs.    (Bayley  &  Ferguson).  Is. 

Nationalist  songs  with  piano  accompaniment.  Tonic  Sol-fa 
and  Staff. 

A  Nation  once  again  (T.  Davis). 

Avenging  and  bright  (Moore). 

Battle  eve  of  the  Brigade,  The  (T.  Davis). 

Dear  harp  of  my  country  (Moore). 

Exile  of  Erin,  The  (Campbell). 

Felons  of  our  land,  The  (  ). 

God  save  Ireland  (T.  D.  Sullivan). 

Green  Flag,  The  (M.  J.  Barry). 

Harp  that  once.  The  (Moore). 

Irish  Rapparees,  The  (C.  Gavan  Duffy). 

Let  Erin  remember  (Moore). 

O'Donnell  Aboo  (  ). 

Paddies  Evermore  (O'Hagan). 

St.  Patrick's  Day  (  ). 

Shan  Van  Voght  (  ). 

The  Wearin'  o'  the  Green  (Boucicault). 

The  West's  asleep  (T.  Davis). 

^Stanford  (Sir  C.  Villiers).  Songs  of  Erin.  (Boosey). 
6s.,  paper  cover. 

50  Irish  folk-songs.  Words  by  Alfred  Perceval  Graves. 
Not  all  the  words  are  Irish  in  subject,  e.g.,  Marching  to 
Candahar,  The  Death  of  Gen.  Wolfe,  but  the  great  majority 
are  Irish,  for  the  most  part  sylvan  and  rural,  but  also 
patriotic,  e.g.,  Clare's  Dragoons,  O'Donnel's  March,  The 
Songs  Erin  sings.    See  also  under  Graves. 

K 


130 


GUIDE  TO  BOOKS   ON  IRELAND. 


"^'Stanford  (Sir  Charles  Villiers).  The  Gomplete  Petrie 
Collection  of  Ancient  Irish  Music  (1,582  Melodies). 
Pp.426.  (London:  Boosev).  3  parts.  5s.  each. 
1902-1906. 

Lacks  Petrie 's  notes.  No  words,  no  piano  arrangement. 
Includes  not  only  song-tunes,  but  jigs,  reels,  planxties,  etc. 
Petrie  was  collecting  airs  from  his  17th  to  his  70th  year 
[died  1866].  Some  he  got  from  various  friends,  but  the 
bulk  direct  from  the  people  in  conjunction  with  0 'Curry. 
"  The  collection  is  one  of  the  first  importance  to  all 
students  of  folk  melody,  the  airs  being  given  just  as  they 
were  noted  by  Petrie."  "  One  must  deeply  regret  that  the 
editor's  work  has  been  done  in  a  perfunctory  fashion,  no 
helps  or  information  given,  and  the  mass  of  matter  col- 
lected by  Petrie  being  left  in  a  condition  little  better  than 
chaos."— (G.  O'N.) 

*Laoide  (Eoghan).  Ar\  Ctitiicipe  Pp.  21.  (Gaelic 
League).    2s.  Gd.  1903. 

Old  Irish  airs  arranged  for  the  harp  or  piano.  29  airs 
with  the  original  Irish  titles.  An  interesting  collection  by 
a  good  harpist— anglice,  Owen  Lloyd. 

Beethoven.  Op.  223.  25  Irish  Songs  for  1  and  2  Voices, 
with  piano,  flute,  violin,  'cello.  Op.  224.  20 
Irish  Songs.    Op.  225.    12  Irish  Songs.^ 

These  are  contained  in  "  A  Select  Collection  of  original 
Irish  airs  for  the  voice,  united  to  characteristic  English 
poetry  written  for  this  work,  with  symphonies  and  accom- 
paniments written  by  Beethoven,  bv  Geo.  Thomson,  Edin, 
Vol.  I.,  1814;  Vol.  IL,  1816. 

^^Roo-\EY  (Hubert  E.).  The  Well-known  Songs  of  Ire- 
land.   4to.    (Duffy).    2s.  1904. 

40  songs,  with  piano  accompaniments,  of  various  character 
— patriotic,  love,  etc.,  mostly  popular  favourites.  Words 
by  Lover,  who  is  best  represented,  Walsh,  etc.  None  of 
Moore's.  "  A  fairly  good  collection." — (W.G.F.)  New 
edition  published  in  1911. 

^Breitkopf  iind  Hartel,  Leipzig,  publish  an  edition  of  these 
settings. 


IRISH  MUSIC. 


131 


^O'Neill  (Capt.  Francis).  The  Music  of  Ireland. 
Pp.  365.  Demy  4to.  (Chicago:  Lyon  &  Healy). 
21.  1903. 

1,850  melodies,  airs,  jigs,  reels,  hornpipes,  etc.,  "  many 
of  which  are  now  pubHshed  for  the  first  time."  Arranged 
by  James  O'Neill.  The  melody  alone  is  given. 
N.B. — "  The  writer  spent  the  first  years  of  his  life  in 
West  Cork.  Here  he  learned  many  of  the  tunes  he  has 
included  in  this  volume  "  (Preface).  The  rest  were  got 
partly  from  various  MS.  collections  given  by  friends,  and 
partly  from  the  emigrant  Irish  in  Chicago.  "A  most 
valuable  collection,  although  many  of  the  settings  are  not 
very  pure."— (W.  G.  F.) 

Goodman  (P.).  Irish  Choruses.  Pp.  115.  Gill.  Is. 
and  Is.  6d.  1906. 

For  men's  voices  (T.T.B.B.)  50  songs  (10  in  Irish).  All 
words  imder  notes.  No  piano  accompaniment.  An  admirable 
selection.  All  the  airs  are  Irish  (old  name  of  air  and 
source  indicated  wherever  possible).  The  songs  are  very 
varied  in  style  and  all  thoroughly  Irish  in  sentiment. 

  The  Irish  Minstrel.    3  parts.    Id.  each. 

O'Neill  (Capt.  Francis).  The  Dance  Music  of  Ireland. 
1,001  Airs.     (Chicago:  Lyon  &  Healy).  1907. 

"  Captain  Francis  O'Neill  has  deserved  well  of  Irish  music 
by  his  industry  in  collecting  immense  quantities  of  its 
remains  from  itinerants  and  others  in  America.  At  the 
same  time,  his  work  disregards  scientific  considerations, 
his  arrangements  are  amateurish,  and  his  versions  are  of 
all  types,  often  far  from  the  best." — (G.  0'N.i) 

'•'O'Neill  (Capt.  Francis).  Irish  Music  for  the  Piano 
or  Violin.    (Chicago:  Lyon  and  Healy).  1908. 

250  airs,  jigs,  reels,  hornpipes,  collected  by  Capt.  F. 
O'Neill,  arranged  by  James  O'Neill.  No  words.  Care- 
fully classified  (a  special  feature  of  this  collection).  "  Only 
such  as  arc  rare,  or  known  only  to  a  limited  extent  and 
not  included  in  Moore's  Melodies  are  printed  in  this 
volume  "  (Pref.).  "  This  is  an  interesting  collection,  but 
the  piano  arrangement  is  not  musicianly." — (W.G.F.) 


132 


GUIDE  TO   BOOKS   ON  IRELAND. 


Valentine  &  Sons  (Publishers).  Songs  of  Ireland. 
(Gem  Selection).  1906.  (Valentine  &  Sons,  44 
William  Street,  Dublin.  Head  Office  and  Works  : 
Dundee).    With  piano  accompaniments. 

"  An  admirable  selection,  with  historical  notes.'* — 
(W.G.F.) 


••^TouRS  (B.).    Old  Ireland.    (Novello).    8vo.    2s.  6d. 
Vocal  arrangements. 

"  A  Collection  of  Ancient  Irish  Melodies."  The  words  by 
Jane  Muloch.  The  Royal  Irish  (At  Tel-el-Kebir),  Old 
Friends,  Kathleen  Asthore,  My  Home  Ruler,  0  Mary,  thy 
laugh  was  sweet,  The  high-born  Orphan.  **  Musicianly, 
but  not  characteristic."— (W.G.F.) 


^•'O'Neill   (Padraig  MacAodh).     Songs   of  Uladh. 
Pp.  58.    Folio.     (Maunsel).    Is.  6d. 

Collected  and  arranged  by  P.  O'N.,  with  ballads  and  folk- 
notes  by  Seosamh  Mac  Cathmhaoil.  Drawings  and  designs 
by  Seaghan  MacC. 


•^'Fox  (Mrs.  0.  Milligan).  Songs  of  Irish  Harpers. 
Pp.  68.  Royal  4to.  (Bayley  &  Ferguson).  4s. 
net. 

Collected  and  arranged  for  harp  or  piano  by  C.M.F. 

My  thousand  times   beloved;   Golden   locks   are  my 
delight;  The  Parting  of  Friends;  Men  of  Connaught; 
Moorlough   Mary;    Sorrow  of   Sorrows;    The  red 
haired  girl;  The  Gates  of  Dreamland;  The  Foggy 
Dew;  The  Thresher;  Dear  Dark  Head;  Pastheen 
Fionn;  Farewell,  my  gentle  Harp. 
The  songs  printed  in  this  book  are  collected  from  various 
sources,  some  now  appearing  in  print  for  the  first  time. 
They  are  choice  specimens  of  the  most  characteristic  Irish 
melody,  and  are  most  sympathetically  treated  in  arrange- 
ment.   At  a  Bardic  Concert  in  Londonderry  House,  Park 
Lane,  London,  on  June  24,  1910,  the  songs  were  effectively 
introduced.    The  Times,  in  an  appreciative  notice,  calls 
attention  to  several  of  the  songs,  saying  of  them  that 
"  they  are  quite  of  the  first  quality/' 


IRISH  MUSIC. 


133 


='=HuGHEs  (Herbert).  Irish  Country  Songs.  (Boosey). 
3s.  Gd.,  paper  cover.  1909. 

Edited,  arranged,  and  for  the  most  part  collected  by  H.H. 
The  verdant  Braes  of  Skreen;  Reynardine;  The  Weaver's 

Daughter;  When  through  Life  unblest  we  rove; 

The  next  Market  Day ;  My  Love,  oh  she  is  my  Love ; 

I  know  where  I'm  goin';  Slow  by  the  Shadows; 

The  Little  Rose  of  Gartan;  A  Ballynure  Ballad; 

Down  by  the  Sally  Gardens ;  The  Bonny  wee  Mare ; 

She  moved  through  the  Fair;  You  couldn't  stop  a 

Lover  (Fragment);  An  Island  Spinning  Song;  The 

Fanaid  Grove;  "B  "  for  Barney  (Fragment);  The 

Lover's  Curse;  I  wish  I  had  the  Shepherd's  Lamb; 

Must  I  go  bound;  I  know  my  Love;  The  Gartan 

Mother's  Lullaby. 
"  A  very  interesting  selection  of  folk-songs,  but  the  accom- 
paniments overload  the  melody,  and  are  frankly  modern." 
— (W.G.F.) 

Joyce  (P.  W.).  Old  Irish  Folk-Music  and  Songs. 
Pp.  xxii.  +  408.  4to.  (Hodges  &  Figgis).  10s.  6d. 
net.  1909.^ 

842  airs  and  songs  "  hitherto  unpublished."  This  latter 
statement  on  the  title-page  is  explained  and  slightly 
modified  in  the  Preface,  e.g.,  in  Part  II.  he  reprints  a  few 
airs  out  of  his  two  previous  collections,  "  Ancient  Irish 
Music  "  and  "  Irish  Peasant  Songs  in  English."  Part  I. 
371  airs  without  words.  Part  II.  Irish  folk  songs  in  the 
English  language  with  the  words  set  to  the  proper  old  Irish 
airs.  Part  III.  The  Forde  Collection.  Part  IV.  The  Pigot 
Collection  :  III.  and  IV.  were  gathered  between  1840  and 
1850.  "  I  spent  ali  my  early  life  in  a  part  of  Co.  Limerick 
[Glenosheen  in  the  heart  of  the  Ballyhoura  Mountains] 
where  music,  singing,  and  dancing  were  favourite  amuse- 
ments "  (Preface).  In  later  life  he  used  to  go  among  the 
people  during  vacations  patiently  gathering  the  old  airs. 
No  piano  accompaniment.  "  A  really  good  collection  of 
Irish  folk  music."— (W.G.F.) 

MooRE  (Thomas).  Irish  Melodies.  With  Symphonies 
and  Accompaniements  by  Sir  John  Stephenson, 
Mus.  Doc,  and  the  Harmonised  Airs  arranged  for 
two,  three,  and  four  voices.    Edited  by  Professor 

^See  also  under  Collections,  p.  136. 


134 


GUIDE  TO  BOOKS  ON  IRELAND. 


Glover.  In  this  Edition  the  words  of  all  the  verses 
are  accompanied  by  the  Music,  with  the  Pianoforte 
part  in  full.  In  one  Volume.  Full  Music  size. 
Bound  in  green  cloth,  extra  gilt.  (Duffy).  7s.  6d. 
The  new  Grattan-Flood  edition — issued  in  1910 — has  an 
Introduction  giving  the  genesis  of  the  Melodies,  also 
refuting  the  statements  of  Sir  Charles  Villiers  Stanford. 

N.B. — It  has   been  thought  well   to   place   the  modern 

editions  of  Moore's  Melodies  among  recent  collections  as 

new  editions  are  constantly  appearing,  and  even  at  the 

present  day  no  Irish  airs  are  heard  so  frequently. 

■  Moore's  Melodies.  Sir  John  Stevenson  and  Sir 
Henry  Bishop.  (Gill).  3s.  6d.,  etc.  [Original  ed., 
1869].     New  ed.,  1906. 

Piano  accompaniment.  A  fairly  good  edition.  None  of 
the  Melodies  are  omitted.  Sir  John  Stevenson  had  the 
advantage  of  working  under  Moore's  own  superintendence, 
"  but  his  work  is,  unhappily,  not  satisfactory  from  any 
point  of  view,  for,  apart  from  question  of  accuracy  and 
antiquarian  knowledge,  his  settings  are  sometimes  ill- 
judged,  and  his  accompaniments  thin." — (G.  O'N.) 

—  Moore's  Irish  Melodies.  (Novello).  2s.  6d.,  8vo. 
paper;  4s.,  8vo.  cloth;  16s.,  folio;  single  folio,  6d.; 
8vo,  Id. 

52  of  the  melodies  harmonized  as  vocal  quartets,  by  M. 
W.  Balfe. 

—  Moore's  Irish  Melodies.  (Novello).  Is.,  8vo. ;  or 
separately,  6d. 

13  of  the  melodies  arranged  as  duets  (S.  &  T.),  by  M. 
W.  Balfe.  7  of  the  melodies  can  be  had  arranged  as- 
duets  (S.  &  C.)  for  Is.,  or  separately,  6d. 

—  Moore's  Irish  Melodies.  (Novello).  Folio  cloth, 
21s. 

Symphonies  and  accompaniments  by  M.  W.  Balfe.  Con- 
taining 85  of  the  most  popular;  also  20  arranged  as  duets^ 
Ditto,  solos  only,  8vo  paper,  2s.  6d. ;  cloth,  4s.  "A  few 
of  the  choral  arrangements  are  really  good." — (W.G.F.) 


IRISH  MUSIC. 


135 


-  Moore's  Irish  Melodies.  (Boosey).  5s.,  paper 
cover. 

The  original  airs  restored  and  arranged  for  the  voice  with 
piano  accompaniments,  by  Sir  Charles  Villiers  Stanford. 
"  There  is  scarcely  a  melody,"  says  Sir  C.  S.  in  Preface, 
"  which  Moore  left  unaltered."  The  editor's  aim  has  been 
to  restore  these  airs  to  the  original  form  as  not-ed  by  Petrie 
and  Bunting.  He  omits  some  of  the  melodies  as  not  being 
Irish  at  all,  e.g.,  Eveleen's  Bower,  Believe  me  if  all,  etc.. 
By  that  lake  .  .  Oh,  the  Shamrock.  The  accom- 
paniment is  frankly  modern.  Sir  Charles'  "  restorations  " 
and  animadversions  upon  Moore  have  been  vigorously 
contested  1. 


"•"Walsh  (William).  Irish  Tunes  for  the  Scottish  and 
Irish  War  Pipes.  (Edinburgh:  David  Glen). 
2s.  net.  1911. 

Airs  arranged  by  David  Glen.  "  A  poor  collection,  with 
unintelligible  titles."— (W.G.F.) 

'•'•The  Irisli  Tonic  Solfaist.  Pp.  72.  (London :  Curwen, 
Dublin:  Gill).  6d. 

A  course  of  graded  exercises  on  the  tonic  sol-fa  method 
of  teaching  to  sing.  Edited,  on  the  plan  of  Mr.  Curwen's 
"  Standard  Course  of  Lessons,"  by  a  priest  of  St.  Vincent's 
College,  Castieknock  (near  Dublin),  for  the  use  of  Catholic 
Schools.  No  part-songs. 2  88  pieces  in  all.  Harmonised 
and  arranged  by  editor.  Many  Irish  pieces.  In  many 
cases  editor  supplies  words  which,  he  says  in  preface,  "  are 
simply  temporary  expedients  to  render  available  for  con- 
vent and  college  classes  beautiful  melodies  which  could  not 
well  be  introduced  M'ith  the  words  to  which  they  are 
ordinarily  sung."  But  the  editor's  words  are  certainly  not 
without  merit.  The  Great  Masters  arc  also  drawn  upon — 
Mendelssohn,  Beethoven,  Weber,  Gounod,  etc.  Appendix 
I.  Application  of  Tonic  S.-F.  to  Staff.  II.  Application  of 
same  to  Gregorian  music. 

^Messrs.  Chappell  publish  an  album  containing  24  of  the 
melodies. 

^But  the  editor  promises  a  supplement  consisting  of  a  selec- 
tion of  suitable  standard  pieces  for  3  or  more  voices.  It  will 
be  in  3  separate  parts  to  suit  (1)  mixed  voice  classes;  (2)  men's 
classes;  (3)  ladies'  and  children's  classes. 


136 


GUIDE  TO  BOOKS   ON  IRELAND. 


^•^Eriii  Song  Book.  Pp.  32.  Sq.  12nio.  (Curwen).  Id. 
4th  ed.  revised. 

On  Tonic  S.-F.  notation.  Introductory  exercises  to  suit 
Irish  education  regulations,  with  graded  songs  in  two  parts, 
and  staff  notation  exercises.  Many  of  the  songs  are  Irish 
in  subject  and  sentiment,  though  not  "  patriotic."  Words 
chiefly  by  Nimmo  Christie.  Music  arranged  by  various 
composers.    Nicely  printed. 

COLLECTIONS  OF  SONGS  IN  IRISH. 

Joyce  (P.  W.).    Irish  Music  and  Song.    Pp.  vi.  +  44. 
(Gill).     2s.  1888. 

Published  for  Society  for  Preservation  of  Irish  Language. 
Claims  (Pref.)  to  be  the  first  of  its  kind  ever  published,  for 
"in  no  case  [hitherto]  have  the  Gaelic  Songs  been  set  to 
the  music,  the  syllables  under  the  notes."  Twenty  Gaelic 
Songs,  wdth  translations  (Walsh,  Mangan,  etc.)  and  notes 
on  the  origin,  etc.,  of  each  air.  No  accompaniment.  A 
verv  useful  little  collection  for  Irish  singers  in  the  native 
tongue."  (W.G.F.) 

•••Clandillon  (Maighread  Ni  Annagain  and  Seainus 
Clanndioluin).  An  tont)ut)  (Gaelic  League).  Is. 
1904. 

Traditional  Songs,  with  music  in  Tonic  Sol-fa  and  Staff. 
"  An  interesting  collection  of  twelve  Irish  songs,  but  the 
versions  are  not  very  pure,  and  at  least  one  is  incorrectly 
noted."  (W.G.F.) 

^Hardebeck  (Carl  G.).  Ceatha  Ceoil.  (Gaelic  League). 
7  parts.     2d.  each. 

Popular  Songs  in  Irish,  with  piano  accompaniment.  The 
airs  are  not  good  versions,  and  the  accompaniments  are 
not  in  the  best  taste."  (W.G.F.) 

"^'G'SuiLLEABHAix  (Padraig).  Ceileabhar  Ceoil.  (Gaelic 
League).    B  Songs.    Id.  each. 

Popular  Songs  in  Irish,  harmonised  in  four  parts  for 
choirs.    Staff  and  Tonic  Sol-fa.  Amateurish. 


IRISH  MUSIC. 


137 


'•Tatterson  (Annie  W.).    Six  Original  Gaelic  Songs. 
(Boosey).     2s.  6d.     Paper  cover. 
"  Deserve  praise."    (G.  O'N.) 

'•^•Rogers  (Brendan).  Breanndain  Miiag  Euaidliri  and 
Seosamh  Laoide.  Cl-Ait^fe-A^  n5^e'l!)ex^l  (Gaelic 
League). 

Songs  in  Irish,  with  Staff  and  Tonic  Sol-fa  notations. 
Four  parts.  3d.  each.  10  or  12  songs  to  each  part. 
"  Many  of  these  deserve  wide  popularity." — (G.  O'N.) 

^=\VALsn  (Revd.  P.).  Cnu^r-Acc  X)e<\^  ArhjA^n  6  parts. 
(Browne  &  Nolan).  Id.  each.  Dublin.  1904- 
1908. 

About  a  dozen  songs  in  each  part.  Tonic  Sol-fa  only. 
They  are  being  re -issued  under  the  title,  Fuinn  na  Smol. 
"  An  excellent  traditional  collection.  A  few  of  the  airs 
not  found  elsewhere."  (W.G.F.) 

tools  cSoIa6oi|a  by  ^ingin  tiA  texMfinA  (Dublin:  The 
Gaelic  League). 

A  collection  of  old  songs  from  Co.  Kerry. 

''^O'DwYER,  Robert  (Riobard  0  Duibhir).  Arhf^in  An 
Oitie^CcAip  (Gaelic  League).  8  numbers.  3d. 
each. 

Songs  in  Irish,  harmonised  in  four  parts.  One  song  in  each 
number.  "  These  are  the  work  of  a  cultivated  musician, 
and  deserve  the  widest  popularity." — (G.  O'N.) 

By  the  Same.    Eithne.    Irish  Opera. 
See  in  the  Section  "  Irish  Plays." 

Produced  in  1909.  "  Many  of  the  numbers  display  un- 
common genius,  but,  as  a  whole,  the  work  is  uneven." 
(W.G.F.) 

SOME  SCOTTISH  COLLECTIONS. 

Let  my  excuse  for  inserting  these  collections  be  the  following 
words  of  0 'Donovan  : — "  The  present  language  of  the  Highlands 
passed  from  Ireland  into  the  Highlands  about  A.D.  504;  and 
a  regular  intercourse  has  ever  since  been  kept  up  between 


138  GUIDE  TO  BOOKS   ON  IRELAND. 

both  countries,  the  literature  and  music  of  the  one  having  been 
ever  since  those  of  the  other."  As  to  the  debt  Scotland  owed 
to  Irish  musicians  in  various  centuries,  see  Flood's  "  History 
of  Irish  Music." 

Oswald's  Caledonian  Pocket  Companion.  12  books. 
1743-64. 

MacDonald's  Collection  of  Highland  Airs.  1784. 

The  Musical  Miscellany.  ('Perth).  1786.  New  and 
enlarged  edition  in  1788,  under  title  Calliope." 
With  English,  Scotch,  and  Irish  Songs. 

Aird's  Selection.     (Glasgow).    6  vols.  1782-99. 

The  Edinburgh  Musical  Miscellany.  1792-3. 

Thomson's  Four  Sets  of  Scottish  Airs.  1793-9. 

The  Scot's  Musical  Museum.  6  vols.  (Edinburgli : 
James  Johnson).  1787-1803. 

Eraser's  Highland  Airs.  1815. 

Campbell's  Albyn's  Anthology.  1816-8. 

600  melodies,  including  many  Irish  airs.  To  this  collection 
Pvobert  Burns  contributed  more  than  150  songs. 

Macdonald  (Keith  Norman),  M.D.  The  Gesto  Collec- 
tion of  Highland  Music.  (Stirling:  Eneas 
Mackey).  15s.  1895.  Piano,  violin,  bagpipe, 
etc. 

This  is  a  fine  collection  of  Scotch  pipe  music,  including 
songs,  pibrochs,  and  laments,  marches,  dance  tunes,  etc., 
in  all  about  335  tunes.  A  second  edition  was  published 
in  1898. 

Whitehead  (Fr.  W.),  A.R.C.O.  Songs  of  the  High- 
lands. (Stirling:  Eneas  Mackey).  15s.net. 
Gaelic  and  English  words.  Translations  by  Malcolm 
MacFarlane  and  others.  Arranged  with  symphonies  and 
accompaniments  for  the  pianoforte  by  Fr.  \V.  Whitehead. 
Fifty  songs  in  all. 


IRISH  MUSIC. 


139 


MACLEOD  (Malcolm  C),  ed.  Modern  [Scottish]  Gaelic 
Bards.  Demy  8vo.  Pp.  265.  Illustrated.  (Stir- 
ling: Mackey).    Bs.  1908. 

Contains  a  large  and  varied  selection  of  Gaelic  poems, 
songs,  and  melodies,  together  with  a  dozen  biographical 
sketches  of  well-known  modern  bards. 

Mackenzie  (John).  The  Beauties  of  Gaelic  Poetry 
and  Lives  of  the  Highland  Bards.  (Edinburgh : 
John  Grant).  1907.  Historical  Introduction. 
Pp.  70.    By  John  Grant. 

MacBean  (Lachlan).  Songs  and  Hymns  of  the  Gael. 
4to.    (Stirling:  Eneas  Mackey).    3s.  6d.  1900. 

Contents. — Part  I.,  Secular  Songs;  Part  II.,  Sacred  Songs; 
Part  III.,  Gaelic  Psalmody.  Introductory  chapter  and 
not-es.  Songs  in  both  English  and  Gaelic.  Music  both  in 
Sol-fa  and  Staff  notation.  Many  of  the  melodies  are  not 
to  be  found  elsewhere. 

MacFarlane  (Malcolm).  Binneas  nam  Bard  (Bardic 
Melody).     (Stirling:  Eneas  Mackey).  1907. 

Issued  in  9  parts  of  96  pp.  each.  2s.  6d.  net  each.  These 
form  3  vols,  the  last  of  which  contains  an  Appendix  with 
notes  on  the  songs  and  tunes  and  an  essay  on  Gaelic 
music.  Music  in  both  Sol-fa  and  Staff  notations.  Of 
special  value  to  students  of  Scotch  Gaelic  music. 

Kerr's  Collection  of  Reels  and  Strathspeys,  etc.  (Stir- 
ling: Mackey).  2s. 

Morrison's  Highland  Airs  and  Quicksteps.  (Stirling  : 
Mackey).    2s.  6d. 

'^'Kennedi-Fraser  (Marjory).  Songs  of  the  Hebrides. 
(Boosey).  £1  Is.  In  handsome  binding.  And 
other  Celtic  Songs  (44  in  all)  from  the  Highlands 
of  Scotland.  Some  collected  and  all  arranged  for 
Voice  and  Piano  by  M.  K.-F.  Gaelic  ed.,  Kenneth 
MacLeod. 

Miss  Kennedy  was  one  of  a  gifted  family  who  went  on 
tour  singing  and  playing  Scotch  music. 


140 


GUIDE  TO  BOOKS   ON  IRELAND. 


Inverness  Collection  of  Gaelic  Songs.  (With  English 
Translations).  By  Prof.  Blackie,  Nether  Locka- 
ber,  Norman  MacLeod  and  others.  (Stirling: 
Eneas  Mackey). 

Very  popular.    Over  10,000  copies  sold. 

Eraser.  Captain  Eraser's  Collection  of  Highland  Airs 
and  Melodies.  (Stirling :  Eneas  Mackey).  12s.  6d. 

Arranged  for  piano  or  violin. 

Inverness  Collection  of  Highland  Pibrochs,  Laments, 
Quicksteps,  and  Marches.  (Stirling:  Eneas 
Mackey).    7s.  6d. 

A"  Choisir-Chiul :  The  St.  Columba  Collection  of  Gaelic 
Songs.    Pp.64.    4to.    (Paisley:  Parlane).  n.d. 

Forty  songs.  No  English  given.  Music  arranged  for  part- 
singing. 

Celtic  Lyre.  A  Collection  of  Gaelic  Songs.  With 
English  Translations.    Edited  by  Fionn. 

This  delightful  volume  contains  the  words  and  music  (in 
Staff  and  Sol-fa  Notation)  of  sixty-eight  of  our  choicest 
Highland  melodies.  Each  song  has  an  excellent  English 
translation,  which  can  be  sung  to  the  original  music.  The 
collection  includes  love  songs,  laments,  marching  songs, 
boat  songs,  war  songs,  etc.,  cloth,  gilt  title.    3s.  6d.  net. 

The  Songs,  Hymns,  and  Psalms  of  the  Scottish  High- 
lands. With  Translations  and  Music,  and  an 
Introduction  by  L.  MacBean.  Limited  edition. 
4to.    Cloth,  Bs.  6d. 

Killin  Collection  of  Highland  Music.  Gaelic  Songs, 
with  the  Music,  collected  and  arranged,  with  a 
Translation  in  English,  and  Historical  and  Criti- 
cal Notes  of  each  Song,  by  Charles  Stewart,  of 
Killin.  The  Harmonies  and  Accompaniments  in 
both  Notations  by  James  Merryles.     Royal  4to. 


IRISH  MUSIC. 


141 


Cloth  gilt,  gilt  tops,  as  new.  10s.  6d.  (McLach- 
lan  &  Stewart).  1884. 

The  collection  comprises  love  songs,  dairymaids'  songs, 
Jacobite  songs,  songs  of  the  Macgregors,  Descriptive  Songs, 
ancient  Gaelic  chants,  songs  by  the  late  Dr.  John  Macleod, 
morven,  and  hymns. 

Songs  of  the  Highlands.  With  Gaelic  and  English 
words  arranged  with  Symphonies  and  Pianoforte 
Accompaniments,  Staff  and  Sol-fa  Notation.  Full 
mnsic  folio  size.  50  of  the  best  Gaelic  Songs 
bound  in  one  volume.  Cloth,  15s.  nett.  Bound 
in  Tartan,  21s.  net. 

Lays  of  the  Heather.  A  Collection  of  Songs  and  Bal- 
lads illustrative  of  the  Poetry  and  Music  of  the 
Highlands  and  Lowlands  of  Scotland,  carefully 
selected  from  the  various  authentic  sources  and 
arranged  with  Symphonies  and  Accompaniments 
for  Voice  and  Pianoforte. 

The  Highland  Songs  are  taken  from  "  The  Inverness 
Collection  of  Gaelic  Songs."  There  are  34  other  Popular 
Scottish  Songs,  including  M'Crimmon's  Lament,  with  new 
arrangements  of  Sir  Walter  Scott's  "  Ladv  of  the  Lake  " 
and  "  Lord  of  the  Isles,"  etc.,  handsomely  hound,  cloth, 
gilt,  royal  quarto.    12s.  6d.  net.    Postage  6d. 

II. — Original  Compositions.^ 

(a)  INSTRUMENTAL. 

Beethoven's  7th  Symphony  is  sometimes  known  as  the 
Irish  Symphony.  The  theme  of  the  finale  is  taken 
from    Nora  Criona.'' 

ICendelssoiin.  Fantasia  on  'The  Last  Rose.^'  Op.  15. 
(Litolf  Edition:  Enoch  &  Sons,  London).  In  Vol. 
I.  of  his  Complete  Compositions.    Price  2s.  6d. 

lA  few  of  the  items  included  in  this  section  have  not  very 
good  claims  to  originality;  but  they  are  placed  here  for  con- 
venience, since  they  would  not  be  easily  found  under  the  heading 
Collections, 


142 


GUIDE  TO  BOOKS   ON  IRELAND. 


Wallace  (W.  Vincent).  Favorite  Irish  Melodies.  (New 
York:  W.  Hall). 

Arranged  with  introduction  and  variations  for  piano. 
1.  Oh  leave  me  to  my  sorrow.    2.  The  soldier's  greeting. 
3.  Go  where  glory  waits  thee  and  Love's  young  dream. 
5.  The  bard's  legacy.    6.  My  lodging  is  on  the  cold  ground. 

Berlioz  (Hector).  Arranged  several  Irish  Airs,  to  be 
found  in  Breitkopf  &  Kartel's  Edition  of  this  great 
master. 

As  is  well  known,  Berlioz  married  an  Irish  actress,  Harriet 
Smithson,  of  Ennis,  Co.  Clare. 

Field  (John).    Arranged  two  Irish  Airs. 

Field  was  a  Dublin  man,  and  was  the  inventor  of  the 
Nocturne.    He  was  an  incomparable  pianist. 

*SuLLivAN  (Sir  Arthur).  Symphony  in  E.  (The  Irish 
Symphony).    (Novello).     (In  the  Press). 

Originally  produced  at  the  Crystal  Palace,  London,  in 
March,  1866.  Has  an  Lish  flavour,  and  is  thoroughly 
musicianly.  Well  merits  a  revival.  Sullivan's  father  and 
mother  were  Irish  of  the  "  old  stock." — (W.G.F.) 

*MoFFAT  (Alfred).  Fantaisie  on  Irish  Melodies  for 
Violin  and  Piano.  (Augeher). 

Introduces  "  The  Coulin,"  "  Garryowen,"  "  Single  Jig," 
Last  Eose,"  "  Top  of  Cork  Eoad."    ^'  Can  be  recom- 
mended.   Sound  musicianship." — (W.G.F.) 

Glover  (J.  W.).  St.  Patrick  at  Tara.  Pp.  155.  4to. 
1873.    (London:  D.Davison),  n.d. 

National  oratorio  with  words  from  Ossian,  Moore,  Mangan, 
etc. 

Erin's  Matin  Song  (Cantata),  1873. 

One  Hundred  Years  Ago  (Ode  to  Moore),  1879. 

The  Deserted  Village  (Opera),  1880. 
Music  considered  decidedly  amateurish. 
Glover — generally     known     as     Professor     Glover — was 
organist  of  Marlborough  Street  Pro-Cathedral,  Dublin,  from 
1848  to  1885.    He  died  in  1899.    His  grandson,  "  Jimmy  " 
Glover,  is  Musical  Director  of  Drury  Lane  Theatre. 


IRISH  MUSIC. 


143 


Spoiir  (Louis).  Potpourri  (A  min.)  on  Irish  Airs  for 
Violin  and  Orchestra.  Op.  59.  (Leipzig :  Breit- 
kopf  und  Hartel). 

No  need  to  dilate  on  the  beauty  of  this  glorious  composition 
by  one  of  the  great  masters  of  the  orchestra. — (W.G.F.) 

^^^Hardebeck  (Carl).  The  Red  Hand  of  Ulster.  (Ba3^1ey 
and  Ferguson).    Is.  6d.  net. 

"  A  romantic  legend  of  Ulster.  Powerful,  impassioned 
solos  and  picturesque  choruses,  occupying  about  one  hour 
in  performance  "  (adv.). 

-Stanford  (Sir  C.  Villiers).  Irish  Symphony  in  F 
Minor.  (Novello).  Full  score,  30s.;  1st  violin, 
2s.  6d. ;  2nd  violin,  2s.  6d. ;  viola,  2s.  6d. ;  'cello  and 
double  bass,  3s.  6d. ;  wind  parts,  22s.  6d. 

"  This  is  the  work  of  an  accomplished  musician,  and  will 
command  the  admiration  of  competent  judges.  Its  diffi- 
culty, however,  and  some  occasional  languor  of  inspiration, 
will  prevent  its  being  frequently  heard  by  popular 
audiences." — (G.  O'N.) 

'•'Stanford  (C.  Villiers).  An  Irish  Idyll  in  Six  Minia- 
tures. (Boosey).  4s.  each.  2  eds.,  for  high  and 
low  voices.  Words  by  Moira  O'Neill  "  (Songs 
of  Glens  of  Antrim).  Written  for  and  sung  by 
Mr.  Plunket  Greene. 

"  Words  and  music  of  some  of  these  have  much  beautv." — 
(G.  O'N.) 

Holmes  (Augusta).    Irlande.    Symphonic  Poem. 

Originally  produced  in  1882.  Revised  for  the  Irish  Feis 
Ceoil  in  1897.  Miss  Holmes  was  a  creative '  artist  of  the 
first  rank,  and  a  worthy  pupil  of  the  great  Cesar  Faruck. 
She  died  in  1903. 

■'Haakman  (J.  Jacques).  Fantasia  on  Irish  Airs. 
(Gary).    2s.  6d.  net.' 

*McKenzie  (D.  C).  Fantaisie  Irlandaise.  (Carv). 
5s. 

Brilliant  concert  solo  on  Irish  airs.    (Violin  and  Piano.) 


144 


GUIDE  TO  BOOKS   ON  IRELAND. 


^^Wallace  (W,  Vincent).  Melodie  Irlandaise.  (Auge- 
ner).    Folio.  Is. 

*'  This  Irish-born  composer  composed  numerous  pianofori.e 
fantasias,  of  which  some  are  built  on  Irish  melodies." 

•^'O'Neill  (Norman).  Variations  on  an  Irish  Theme. 
(Augener). 

For  two  pianos,  4  hands.  "  Mr.  Norman  O'Neill  is  a 
musician  of  exceptional  and  cultured  gifts.  It  remains  to 
be  seen  how  far  he  will  achieve  success  in  the  field  of 
Irish  music." — (G.  O'N.) 

Thalberg  (S.).  Airs  Irlandais  Varies  pour  le  piano. 
Op.  57,  No.  10.    (Leipzig:  Breitkopf  und  Hartel). 

"Difficult,  yet,  on  the  whole,  commonplace  in  character; 
these  pieces,  once  widely  known,  are  no  longer  felt  to  repay 
the  trouble  of  study."— (G.  O'N.) 

 Irish  Fantasia.  1858. 

Colli  SON  (W.  A.  Houston).  The  Game  of  Chess.  Can- 
tata.   1900.     Samhain.    Cantata.  1902. 

These  Cantatas  were  written  respectively  for  the  Feis 
Ceoil  of  1900  and  1902,  and  are  published  by  Messrs. 
Weekes  and  Co.,  14  Hanover  Street,  London. 

  Irish  Suite  in  E  Minor. 

Prize  Irish  Suite  at  Feis  Ceoil  of  1903.    Published  by 
Williams  and  Co.,  32  Great  Portland  Street,  London. 
The  Cantatas  and  Suite  are  musicianly. 

^^EsposiTo  (Michele).  Two  Melodies  for  Violin  and 
Piano.  (Augener).  1896.  Farewell,  but  when- 
ever "  and  The  Silver  Tip."  Eoseen  Dhu.  Irish 
Vocal  Suite.  (Dublin:  Pigott).  2s.  Deirdre. 
Cantata.    1897.    The  Postbag.    Operetta.  1902. 

"  Dr.  Esposito's  arrangements  are  thoroughly  musicianlv, 
but  fairly  difficult."  (W.G.F.) 

^Seymour  (Joseph).  Irish  Mav  Day.  (Curwen. 
Unison  Operetta.  Sol-fa,  Gd.:  Staff,  Is.  &  Od. 
Words,  Id. 


IRISH  MUSIC.  145 

Pelissier  (W.  Harvov).    Connla  of  the  Golden  Hair. 
(Curwen).     2s.  6d.  1903. 

An  Opera  founded  on  a  legend  of  the  Irish  heroic  period. 
Prize  work  at  the  Feis  Ceoil,  1903. 

Butler  (O'Brien),  iruirgheis.   An  Irish  Opera  Borhsa 
(R.N.C.j.    Reliques  Irlandaises.  ]837. 

(h)  VOCAL. 

'^IIandel.    The  Poor  Irish  Lad.    (XovelloL  2s. 

The  words,  symphonies,  and  accompaniment  by  W.  H. 

Cummings.    Tlie  melody  from  an  autograph  MS. 

An  Irish  air  taken  dowia.  by  Handel  when  in  Ireland  in 

1742. 

Ritter  (Frederic  Louis).    10  Irish  Melodies.  Folio. 
New  York.  1875. 
Ritter  died  at  Antwerp  in  1891. 

Stewart  (Sir  Robert),  ilus.D. 

Numerous  choruses  and  part  songs,  published  by  Novello, 
also  by  Curwen.  His  arrangement  of  "  The  ^Yine  Cup  is 
Circling  "  is  very  popular.  AVidely  esteemed  as  an 
organist,  composer,  and  lecturer.  He  edited  the  Church 
of  Ireland  Hymnal.  His  memory  is  still  green  as  an 
admirable  extempore  performer,  and  as  having  raised  the 
standard  of  musical  degrees  in  Dublin  University.  A 
statue  of  him  has  been  erected  in  Leinster  Lawn, '  beside 
the  Gallery  of  National  Art. 

Stage  (Mrs.).    Erin's  Harp. 

Ten  numbers  appeared.    Airs  by  herself. 

'^Greaven  (Revd.  A.).  A  Cycle  of  Irish  Songs.  (Duffy). 
Wrapper,  Is.  net.    Cloth,  2s. 

"Of  no  particular  interest."    ^Y.  H.  G. 

•••CoLLisoN   (W.  A.  Houston),  Mus.Doc.     A  Kerry 
Courting.    (Boosey).    3s.    Paper  cover. 
Irish  song  cycle  for  four  solo  voices  (S.A.T.B.).    Words  by 
Percy  French. 

L 


146 


GUIDE  TO  BOOKS   ON  IRELAND. 


•^'Harty  (Hamilton).    Six  Songs  of  Ireland.  (Boosey). 
4s.    Paper  cover. 

Lookin'  Back.    Words  by  Moira  O'Neill. 
Dreaming.    Words  by  Cahir  Healy. 
Lullaby.    Words  by  Cahal  0 'Byrne. 
Grace  for  Light.    Words  by  Moira  O'Neill. 
Flame  in  the  Skies.    Words  by  Lizzie  Twigg. 
At  Sea.    Words  by  Moira  O'Neill. 

"  This  is  a  really  gifted  composer.  If  not  invariably 
attractive,  his  work  is  never  commonplace." — (G.  O'N.) 

••^Harty  (Hamilton).     Three  Traditional  Ulster  Airs. 
(Boosey).    2s.  Gd.  each.     Paper  cover. 

Viz.,  Blue  Hills  of  Antrim,  My  Lagan  Love,  Black  Sheela 
of  the  Silver  Eye.  Words  by  Seosamli  MacCathmhaoil. 
Two  settings  :  No.  1,  Low  Voice.  No.  2,  High  Voice. 

■'^T.joiir  (Hermann).    Four  Irisli  Lyrics.    (Pigott).  4s. 

'Fox  (Mrs.  C.  Milligan.    Four  Irish  Songs.    Size,  lOJ 
X  7 J.    (Maunsel).    Is.  6d.    Irish  linen. 

Words  by  Edith  Wheeler  and  Alice  Milligan.  The  Con- 
nacht  Caoine,  by  Tadhg  O'Donnchadha.  Illustrated  by 
Seaghan  MacCathmhaoil. 

Robinson  (Joseph). 

Arranged  59  of  most  popular  Irish  melodies,  and  12  classical 
songs.  Also  in  three  books  the  Montinino  Sight  Singing 
Exercises.  He  was  a  noted  teacher  of  singing  and  con- 
ductor.   Dublin  :  Cramer,  Wood  and  Co. 

'•^^Needham  (A.  A.).    Four  Irish  Ballads.  (Novello). 
Each,  2s. 

1.  Maureen  (in  F  and  A  flat).  2.  The  Maid  of  Garryowen. 
3.  The  Irish  Reel.    4.  Lonesome. 

•B}'  Same.    Four  Lyrics.    (Novello).    Each,  2s. 

1.  Irish  Lullaby  (in  D  flat,  F,  E  flat).  2.  Lorna  Doone's 
Song.    3.  0  Mistress  Mine.    4.  Pastheen  Fionn. 


IRISH  MUSIC. 


147 


By    Same.       Your    Father's    Boreen,  Humorous. 
(Novello).  2s. 

No.  1,  in  E  flat;  2,  in  D  minor;  3,  in  C. 
"Mrs.  Needham  is  a  gifted  musician,  with  a  very  ready 
pen.    She  has  done  a  great  deal  to  popularise  Irish  music 
with  the  educated  public."— (G.  O'N.) 


••'Needham  (A.  A.).  A  Bunch  of  Shamrocks.  (Boosey. 
Bs. 

Irish  Song  cycle  for  4  solo  voices  (S.A.T.B.). 

God  of  this  Irish  Isle.    Words  by  Thomas  d'Arcy  McGee. 
Killiney  far  away.    Words  by  Francis  A.  Fahy. 
The  little  red  Lark.  Words  by  Katherine  Tynan-Hinkson. 
Your  Father's  Boreen.    Words  by  Anon. 
My  dark  Rosaleen.    Words  by  James  Clarence  Mangan. 
Pictures  of  Ireland.    Words  by  Joseph  Clarke. 
The  Woman  of  Three  Cows.    W^ords  by  James  Clarence 
Mangan. 

The  Sweet  of  the  Year.    Words  by  Katherine  Tynan- 
Hinkson. 

Peace  be  around  Thee.    Words  by  Thomas  Moore. 
The  Stile  in  the  Lane.    Words  by  Francis  A.  Fahy. 
Fan  Fitzger'l.    Words  by  Alfred  Perceval  Graves. 
Salutation  to  the  Celts.      Words  by  Thomas  d'Arcy 
McGee. 

Of  these  "  My  dark  Rosaleen  "  is  probably  the  best,  and 
will  likely  outlive  the  others. 

^'^Stockhausen.  Six  Irish  Folk  Songs.  (Pigott).  2s. 
For  two  medium  voices. 

Irish  Folk  Songs  for  a  Medium  Voice.  3  Vols.  Eng- 
lish and  German  Words.  (Breitkopf  und  Hilrtel). 
2s.  2d. 

O'Neill  (Revd.  G.),  S.J.  Hymns  to  St.  Patrick  and 
St.  Brigid.    (Dublin:  Cramer  &  Pohlmann). 

Set  to  ancient  Irish  airs.  Irish  and  English  words.  Price 
2d.  each.  These  Hymns  have  already  secured  wide 
popularity  :  thev  will  supply  a  want  which  had  long  been 
felt. 


148 


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Flood  (Dr.  W.  H.  Grattan).    Songs  by. 

The  Dear  Homeland. 
Our  fond  ones  far  away. 
The  Land  for  the  People. 
Connacht. 

My  Bonnie  Brown  Girl. 

Mona  dhuit  a  tir  ar  nduthchais. 

The  Fair-Haired  Maid,  etc. 
Dr.  W.  H.  G.  Flood's  services  to  Irish  music  are  (we  trust) 
too  well  known  to  need  recapitulation  here.  The  acknow- 
ledged quality  of  them  by  the  Royal  University  of  Ireland 
with  an  honorary  "  Mus.  Doc."  degree  was  received  with 
great  general  satisfaction. 


III. — Items  from  Publishers'  Catalogues 
(Sheet  Music).] 

•f^PIGOTT  &  CO. 

Some  samples  of  Irish  sheet  music  to  be  had  at  the  present 
day 

1.— INSTRUMENTAL  MUSIC. 

(a)  Piano  Solos. 

Avenging  and  Bright  (Is.  2d.),  arr.  Esposito. 

Come  back  to  Erin  (Is.  6d.),  Kuhe. 

The  Coulin  (Is.  6d.),  arr.  M.  Esposito. 

Irish  Airs  (Is.  6d.),  Kuhe. 

Reminiscences  of  Ireland  (Is.  6d.),  Godfrey. 

Wearin'  of  the  Green  (6d.  and  Is.  2d.),  Smallwood. 

Do.  (Is.  6d.),  Kuhe. 

Echoes  from  the  Green  Isle  (Is.  6d.),  Rockstro. 
Gems  from  the  Emerald  Isle  (Is.  6d.),  Rockstro, 
Harp  that  once  (Is.  6d.),  Wright. 
The  Shamrock  (Is.  6d.),  Pridham. 
St.  Patrick's  Day  (Is.  6d.),  B.  Richards. 

(h)  Piano  Duets. 

Echoes  from  the  Green  Isle  (Is.  6d.),  Rockstro. 
Irish  Diamonds  (6  parts,  Is.  lid.  each),  Pape. 
Reminiscences  of  Ireland  (Is.  lid.),  Godfrey. 
Whispers  from  Erin  (Is.  lid.),  Harvey. 

Do.  (Is.  lid.),  Rockstro. 

Ireland  (Is.  2d.),  Gantier. 
St.  Patrick's  Day  (Is.  6d.),  Richards. 
Killarney  (Is.  6cl.),  B.  Smith. 
Irish  Airs  (Is.  lid.),  Kuhe. 


IRISH  MUSIC. 


149 


(c)  Dance  Music. 

Apart  from  the  collections  noted  above,  there  are  more 
than  a  dozen  sets  of  Quadrilles  based  on  Irish  airs. 

(d)  Violin. 

Erin's  Wreath.  A  selection  of  the  most  admired  Irish  airs  for 
the  violin,  with  (ad  Jib.)  accomp.  for  piano,  2nd  violin, 
viola,  'cello,  flute,  clarionet,  and  cornet.  25  numbers. 
Is.  6d.  each,  complete.    5  airs  in  each  numbei-. 

Garryowen  (Grand  Fantasia),  2s.  8d. 

Six  Irish  "  Fantasies  Mignonnes."  3  numbers.  Is.  8d.  each. 
2  airs  in  each. 

2.— VOCAL  MUSIC. 

There  are  innumerable  Anglo-Irish  songs  with  names  like 
Asthore,  Acuslila,  Avourneen,  Mavourneen  Mine,  Sweet  Vale  of 
Avoca,  The  Vales  of  Arklow,  and  so  on,  many  of  which  arc 
excellent  in  their  waj*.  There  are  national  songs,  chiefly 
arranged  by  J.  J.  Johnson  : — The  Banner  of  Green,  Castlebar, 
The  Boys  of  Wexford,  The  Croppy  Boy,  Who  Fears  to 
Speak  .  .  .  ,  There's  No  Land  Like  Ireland,  etc.  There 
are  excellent  comic  songs  (sometimes  in  the  covers  not,  happily, 
illustrated)  by  Percy  French.  The  only  songs  in  this  list 
approaching  the  objectionable  "  Stage  Irish  "  type  are  some 
eight  or  nine  by  W.  J.  Ashcroft.  There  are  songs  by  Esposito, 
Val  Vousden  (old  favourites),  Harvey,  etc. 

^CRAMER  WOOD  &  CO. 

By  Sir  Francis  Brady. — Erin's  Isle,  Is.  6d. ;  Erin's  Welcome, 
Is.  6d. ;  Come  back  to  Erin  (4-part  song).  "  Ephemeral 
productions,  and  rather  amateurish  "  (W.G.F.). 

By  Aynslcy  Fox. — When  shall  the  day  break  in  Erin?  Is.  6d. 

By  Robert  Martin. — Bally  bough  Bridge  Brigade,  Vagrants  of 
Erin,  Ballyliooley,  Killaloe.  Mullingar.  The  last  three 
are  pubished  in  London.  Comics  of  a  style  that  was  once 
popular. 

By  Hubert  Rooney.— A  Memory,  Dear  Land,  Is.  6d.  each. 

The  following  music  books  were  formerly  published  by  Messrs. 
CAMERON  &  FERGUSON  of  Glasgow  :— 

Sixty  Irish  Songs  :  Words  and  Music.  Arr.  for  Concertina.  6d. 
The  Green  Flag  of  Ireland  National  Songs  :  Words  and  Music. 

Arranged  for  Concertina.  6d. 
One  Hundred  Irish  Airs  (no  words).    Arr.  for  Concertina.  6d. 

(Adams  Sixpenny  Instrumental  Series.) 
One  Hundred  Irish  Airs  (no  words).    Arr.  for  Flute.  6d. 
One  Hundred  Irish  Airs  (no  words).    Arr.  for  Violin.  6d. 


150 


GUIDE  TO  BOOKS   ON  IRELAND. 


Irish  Songs,  Airs  aud  Dances.    Arr.  for  Melodcon.  6d. 
In  Excelsior  Series.    Fifty-eigLt  Irish  Melodies;  full  Music  size, 
pp.  24.  Is. 

*'  These  publications  were  of  no  particular  value." — W.G.F. 

GILL  AND  SON'S  "  SONG  BOOKS." 
Contain  no  Music. 

^CHAPPELL  &  GO.'S  Catalogue  of  Vocal  Music  contains 
many  songs  more  or  less  Irish  in  subject.  The  composers'  names 
are  in  brackets.  Colleen  Rue  (Allitsen),  My  White  Rose  of  Kil- 
larney  (Aylward),  The  Irish  Emigrant  and  The  Irish  Peasant 
(Barker),  A  Flower  from  Erin  (Brady),  Wearing  of  the  Green, 
new  version  (Boulton),  Oh,  Bay  of  Dublin  (Lady  Dufferin), 
Bridget  Brady  (Milligan  Fox),  An  Irish  Love -song  (Harty),  An 
Irish  Proposal  (Kane),  My  Molly  Asthore  (Lavenn),  Four  Irish 
Lyrics  (Hermann  Lohr),  and  four  or  five  others  by  the  same, 
Barney  O'Hea  and  Paddy  Blake's  Echo  (Lover),  The  Lake  Isle 
of  Innisfree  (Peel),  Snowy-breasted  Pearl  (Robinson),  On  the 
Road  to  Tipperary  (Stuart),  Irish  Eyes  and  Ould  Doctor  Mack 
(Stanford). 

*BAYLEY  AND  FERGUSON. 

1.  — Among  their  Humorous  Part  Songs  are  several  Irish  items, 

e.g.,  Barney  O'Hea,  The  Widow  Malone,  Rory  O'More, 
St.  Patrick  was  a  Gentleman,  The  Cruiskeen  Lawn,  and 
several  others.    Price,  2d.  or  3d.  Staff,  Id.  Sol-fa. 

2.  — Glees  and  Part  Songs   (S.A.T.B.).    This  section  contains 

over  30  Irish  songs,  including  many  of  the  best  : — 
Savourneen  Deelish,  Terence's  Farewell,  Molly  Bawn, 
Let  Erin  Remember,  Believe  me  if  all  .  .  The 
Coulin,  Come  back  to  Erin,  Tlie  Whistling  Thief,  and  so 
on.    Price,  2d.  or  3d.  Staff,  Id.  Sol-fa. 

3.  — Vocal  Fantasias. — Irish  Songs  arr.  "by  John  Bell. — Intro- 

ducing St.  Patrick's  Day,  Wearing  of  the  Green,  The 
Bould  Sojer  Boy,  A  Place  in  thy  Memory,  and  St.  Patrick 
was  a  Gentleman. 

4.  — Male  Voice  Music. — Part  Songs. — 8  or  10  items,  including 

The  Snowy  Breasted  Pearl,  Oft  in  the  Stilly  Night,  Last 
Rose,  Killarney,  Meeting  of  the  Waters. 

*Messrs.  BROWNE  &  NOLAN  publish  a  series  of  "  Choruses 
for  Choral  Classes  and  School  Choirs."  There  are  13  songs  in  the 
series,  sold  at  Id.  or  l^d.  each.  They  are  mostly  arranged  for 
four  mixed  voices;  Tonic  Sol-fa  or  Staff.  Three  are  in  Irish, 
most  of  the  others  are  Irish  in  subject. 

Also  an  Irish  Song  Book,  Tonic  Sol-fa.  In  six  parts,  Id.  each. 
(  See  Walsh,  Rev.  Patrick.) 


IRISH  MUSIC. 


151 


-i^NOVELLO. 

Irish  Airs  and  Folk  Songs  for  mixed  voices  (S.A.T.B.)  with 
or  without  accomp.  ad  lib.  : — 
After  the  Battle  (arranged  by  T.  R.  Joze),  2d. 
Arranmore  Boat  Song  (arranged  T.  R.  Jozej,  4d. ;  Sol-fa,  l^d. 
Battle  Song  (arranged  by  T.  R.  Joze),  3d.;  Sol-fa,  Id. 
Capture  of  Cremona,  The  (arranged  by  T.  R.  Jozej,  3d. ;  Sol-fa,  Id. 
Cruiskeen  Lawn,  The  (arranged  by  Granville  Bant£)ck),  3d.; 
Sol-fa,  Ud. 

Cruiskeen  Lawn,   The    (arranged    bv    R.    P.   Stewart),  3d.; 
Sol-fa,  Ud. 

Dear  Little  Shamrock,  The  (arranged  by  H.  Elliott  Button),  2d. 
Emer's  Lament  for  Cuchulain  (arranged  bv  Granville  Bantock), 

3d.;  Sol-fa,  Ud. 
Far  Awav  (arranged  bv  T.  R.  Joze),  2d.;  Sol-fa,  Id. 
Fly  Not  Yet  (arranged^by  T.  R.  Joze),  3d.;  Sol-fa,  Id. 
Harvest  Rose,  The  (arranged  by  T.  R.  Joze),  3d. 
How  dear  to  me  (arranged  bv  A.  A.  Needham),  3d. 
L'ish  Reel,  The  (arranged  by  T.  R.  Joze),  4d. ;  Sol-fa,  l^d. 
Irish  Wedding  Song  (The  Kilkenny  Air)  (arranged  bv  J.  B. 

Rogers),  3d.;  Sol-fa,  Id. 
Kitty  of  Coleraine  (arranged  by  C.  H.  Lloyd),  2d.;  Sol-fa,  Id. 
Lanient,  A  (arranged  by  T,  R.^Joze*),  2d.;  Sol-fa,  Id. 
Last  Rose  of  Summer,  The  (arranged  by  T.  Distin),  2d. 
Last  Rose  of  Summer,  The  (arranged  by  Turle  Lee),  2d. 
Mother's  Lamentation,  The  (arranged *^bv  T.  F.  Dunhill),  2d.; 

Sol-fa,  Id. 

O'Sullivan  Mor  (arranged  by  T.  R.  Joze),  2d.;  Sol-fa,  Id. 
Silent,  0  Moyle  (arranged  by  J.  Seymour),  2d.:  Sol-fa,  Id. 
Song  of  Fionnuala,  The  (arranged  by  Granville  Bantock),  Id. 
Songs  of  our  land  (arranged  by  A.  A.  Needham),  3d. 
^Twas  one  of  those  dreams  (arranged  by  T.  R.  Joze),  2d. 
When  Through  Life  (arranged  by  T.  R.  Joze),  2d.;  Sol-fa,  Id. 
Young  May  Moon,  The  (arranged  by  C.  H.  Lloyd),  2d.;  Sol-fa,  Id. 
Dear  Little   Shamrock   is   also  issued   arranged   for   4  male 

voices  (T.T.B.B.). 
Last  Rose,  etc.,  also  arranged  for  4  male  voices  (A.T.T.B.). 
The  Irish  Reel,  also  arranged  for  3  female  or  boys'  voices  (S.S.A.). 
"  All  may  be  highly  recommended," — (G.  O'N.) 

J.  CURWEN  AND  SONS. 

1. — National  Part  Songs.    IJd.  each  number,  each  containing 
eight  songs.    Can  be  had  in  either  Staff  or  Tonic  Sol-fa. 
No.  7.— Arranged  by  Sir  Robert  Stewart,  including  Kate 
Kearney,  The  Minstrel  Boy,  Last  Rose,  Believe  me 
if    .    .       Patrick's  Day,  etc. 


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No.  8. — Arranged  by  Sir  B.  Stewart,  including  Meeting 

of  Waters,  Silent,  0  Moyle,  When  through  life    .    .  ., 

Sing,  sweet  harp,  etc. 
No.  16. — Harmonized  by  J.  Spencer  Curwen,  including 

Cruiskeen  Lawn,  Love's  Young  Dream,  Avenging  and 

Bright,  What  will  you  do  love?  etc. 
No.   17. — Harmonized  by  J.   S.  Curwen,  including  Oh, 

breathe  not  his  name,  The  low-back 'd  car,  Oh,  Arran- 

more,  Farewell,  but  whenever,  etc. 

2.  — Apollo  Club  Leaflets,  some  of  which  (price  Id.)  contain  one 

song  (one  sheet)  both  in  Tonic  Sol-fa  and  Staff  (e.g., 
Dear  Little  Shamrock,  Oft  in  the  Stilly  Night,  others 
contain  three  sheets  (prices.  Id.,  2d.,  3d.). 

3.  —Part  Songs  for  mixed  voices  (Separate  numbers)  : — 

Believe  me,  if  all,  Staff,  2d.:  Sol-fa,  Id. 

Cappeen  Gorm  (arranged  by  P.  Jackman). 

Come  back  to  Erin  (Claribel),  Staff,  3d.;  Sol-fa,  l^d. 

"  Coulin,"  The,  Staff,  2d.;  Sol-fa,  Ud. 

Cruiskeen  Lawn,  The  (arranged  bv  J.  Seymour),  Staff, 

lid.;  Sol-fa,  Id. 
Dear  Little  Shamrock,  The. 

Irish  Airs  (Choral  Fantasia,  C.  H.  Lewis),  Staff,  4d.; 
Sol-fa,  2d. 

How  oft  has  the  Banshee  cried  (S.C.T.B.B.),  Staff,  2d.; 
Sol-fa,  Id. 

'Tis  the  last  Rose  of  Summer  (arranged  by  L.  C.  Venables). 
Legend  o'  Mullaghmast,  A  (arranged  by  P.  Jackman), 

Staff,  Ud.]  Sol-fa,  Id. 
No,  not  more  Welcome  (arranged  by  J.  Scvmour),  Staff, 

lid.;  Sol-fa,  Id. 
0  Native  Music  (arranged  bv  J.  Sevmour),  Staff,  l^d. ; 

Sol-fa,  Id. 

Savourneen  Deelish  Eileen  Oj^^c,  Staff,  2d.;  Sol-fa,  1-^d. 
Wearing  of  the  Green,  The,  Staff,  IM. ;  Sol-fa,  Id. 

4.  Irish  Choruses  : — 

Bells  of  Shandon  (J.  Sevmour,  S.S.C.),  Staff,  l^d.;  Sol-fa, 
Id. 

Come  Back  to  Erin  (Claribel,  Unis.),  Staff',  2d.;  Sol-fa,  Id. 
Dear  Harp  of  mv  Country  (arranged  bj  Smith,  S.S.C.), 

Staff,  2d.:  Sol-fa,  Id. 
Flow  On,  Thou  Shining  Pviver  (Stevenson,  S.C.),  Staff, 

2d.;  Sol-fa,  Id. 
Galwav  Piper  (arranged  bv  Fletcher,  S.S.C.),  Staff,  2d.; 

Sol-fa,  Id. 

Kathleen  Mavourncen  (Crouch,  Unis.),  Staff,  2d.;  Sol-fa, 
Id. 


IRISH  MUSIC. 


153 


Killarney  (M.  W.  Balfe,  Unis.),  Staff,  2d.;  Sol-fa,  Id. 
Last  Rose  of  Summer  (arranged  by  Fletcher,  S.S.C.), 

Staff,  3d. ;  Sol-fa,  l^d. 
Minstrel  Boy  (arranged  bv  J.  Smith,  S.S.C.),  Staff,  2d.; 

Sol-fa,  Id. 

No,  not  more  Welcome  (arranged  by  Smith,  S.S.C.),  Staff, 

2d.;  Sol-fa,  Id. 
0  Native  Music  (arranged  bv  J.  Smith,  S.S.C.),  Staff, 

2d.;  Sol-fa,  Id. 
Rakes  of  Mallow  (See  "  Galway  Piper 
St.  Se nanus  and  the  Lady  (arranged  bv  Smith,  S.S.C), 

Staff,  2d.;  Sol-fa,  Id. 
\Yearing  o'  the  Green  (Ldsh  Air,  S.G.),  Staff,  2d.;  Sol-fa, 

Id. 

For  account  of  ''  Erin  Song  Book  "  and  of  "  Tonic  Solfaist," 
see  pp.  13.5  and  136. 

IV. — Books  about  Irish  Music. 

Apart  from  the  books  mentioned  below,  much  information 
about  Irish  music  can  be  gleaned  from  the  introductions  and 
prefaces  to  the  various  COLLEGTIONS  included  in  a  preceding 
sub-section,  p.  111. 

(fl)  HISTORY. 

In  0' Curry's  "  Lectures  on  the  Manners  and  Customs  of  the 
Ancient  Irish^''  edited  by  W.  K.  Sullivan,  is  a  section  dealing 
with  ^'  Music  and  iMusical  Instruments  in  Ancient  Erin."  It 
is  full  of  valuable  information  although  a  number  of  its  con- 
clusions have  been  corrected  by  more  modern  scholarship. 

Walker  (Joseph  Cooper).  Historical  Memoirs  of  the 
Irish  Bards.  Pp.  16G  +  124.  ito.  (Dublin). 
178G. 

Rest  of  title  "  interspersed  with  anecdotes  of,  and  occa- 
sional observations  on,  the  music  of  Ireland.  Also  an 
historical  and  descriptive  account  of  the  musical  instru- 
ments and  an  ^Appendix  (124  pp.)  containing  several 
biographical  and  other  papers  with  select  Irish  melodies." 
Begins  with  earliest  times  and  brings  historv  down  to 
death  of  Carolan,  1738,  but  there  is  little  about  the  17th 
and  18th  centuries.  O'Halloran,  O'Conor,  and  Vallancey 
were  my  companions  [figuratively,  of  course]  ;  and  with 
them  I  was  content  to  stand  or  fall."  .  .  .  "When  I 
liap2X}n  to  speak  scientifically  of  music,  it  is  that  gentleman 
Mr.  Bcanford  who  generally "^dictates."  (Pref.).    "  Walker," 


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GUIDE  TO  BOOKS  ON  IRELAND. 


says  0 'Curry,  "  seems  to  have  been  the  sport  of  every 
pretender  to  antiquarian  knowledge,  but  more  especially 
the  dupe  of  an  unscrupulous  person  of  the  name  of 
Beauford,  who  unblushingly  pawned  his  pretended  know- 
ledge of  facts  on  the  well-intentioned  but  credulous 
^yalker."  Appendix  contains,  among  a  good  deal  of 
rubbish,  lives  of  Turlough  O'Carolan  and  of  Cormac 
Common.  A  new  edition  was  published  by  Christie,  of 
Dublin,  in  1818. 

MooRE  (Thomas).  Notes  from  the  Letters  of  T.  Moore 
to  his  Music  Publisher,  John  Power.  Pp.  xxxiii.  + 
vi.  4-  176.    (New  York:  Eedfield).    C.  1854. 

Introductory  letter  from  T.  Crofton  Croker.  The  publica- 
tion of  these  letters  was  suppressed  in  London. 

Fox  (Mrs.  Milligan).  Annals  of  the  Irish  Harpers. 
(Smith,  Elder).    7s.  6d.  1911. 

A  volume  based  on  Bunting's  Note  Books.  Quite  interesting 
as  a  record  of  music-collecting  in  the  first  quarter  of  the 
19th  century,  with  side-lights  on  the  social  life  of  the 
period.  Bunting's  life-work  is  fully  dealt  with,  and  justice 
done  to  his  memory. 

Grove's  Dictionary  of  ]\Iusic  and  Musicians.  New  ed. 
in  6  vols.  Edited  bv  J.  A.  Fuller  Maitland,  M.A., 
F.S.A.    (Macmillan).  5  Guineas  net.  1904-1910. 

Contains  a  mine  of  information  on  all  matters  relating  to 
music  and  musicians.  There  is  a  special  article  on  Irish 
music,  and  there  are  biographies  of  a  number  of  Irish 
musicians.  As  a  reference  book  this  monumental  work  is 
indispensable. 

See  also  Brown  and  Stratton's  British  Musical  Biography. 

Flood  (W.  H.  Grattan),  Mus.  Doc.  A  History  of  Irish 
Music.  Pp.  XV.  +  353.  (Browne  &  Nolan).  6s. 
net.    1st  ed.,  1904.    2nd  ed.,  1906. 

From  earliest  times  to  opening  of  19th  century,  with  a 
short  chapter  on  Irish  music  from  1800  to  present  day 
(chiefly  an  account  of  ten  leading  composers).  From  the 
Invasion  onwards  the  author  treats  Irish  and  Anglo-Irish 
music  in  distinct  chapters.  The  author  is  greatly  helped 
by  his  knowledge  of  the  Irish  language.     Chapters  on 


IRISH  MUSIC. 


156 


Ancient  Irish  Musical  Instruments;  Irish  Church  Music; 
Shakespeare  and  Irish  Music;  Irish  Pipers  in  the  18th 
Century ;  Handel  and  Arne  in  Ireland ;  Harp  Festivals  and 
Harp  Societies,  etc.  Appendix  A. — Collections  of  Irish 
M.B.  Musical  MSS.  in  Trinity  College,  Dublin.  Index. — 
There  is  no  discussion  of  disputed  points,  no  technical  disser- 
tations or  padding.  The  book  is  a  vast  collection  of  material 
bearing  on  the  subject  culled  from  every  possible  source, 
literally  every  page  being  filled  with  curious  and  valuable 
information.  This  wealth  of  detail  accounts  and  more  than 
compensates  for  some  want  of  style  and  arrangement. 

Z\Iason  (Redfern).  Tlie  Song  Lore  of  Ireland:  Erin's 
Story  in  Music  and  Verse.  Pp.  329.  (New  York  : 
Wessels  &  Bissell  Co.).  1910. 

Plan  thus  described  by  author  (Preface). — "  In  the  opening 
chapter  it  is  shown  how  music  and  song  formed  an  organic 
part  of  the  most  ancient  Irish  civilization.  It  is  then 
explained  how  this  tradition  was  kept  alive  through  long 
ages  by  the  bards,  minstrels  and  harpers.  Chapter  III. 
dwells  on  the  extraordinary  fact  of  the  preservation  of 
Irish  music  independent  of  any  written  record.  The  nature 
of  Irish  music  is  the- theme  of  Chapter  IV.,  and  a  descrip- 
tion follo^Ys  of  the  part  played  by  song  in  the  daily  life  of 
the  people.  Fairy  mythology  and  spirit  lore  and  the  tales 
of  the  Red  Branch  lead  to  a  discussion  of  the  more  strictly 
historical  aspect  of  Irish  song.  The  last  four  chapters  arc 
practically  the  history  in  verse  and  melody  of  the  struggle 
of  the  Irish  with  the  stranger  from  Clontarf  to  the  dawning 
of  the  day  of  comparative  freedom  "  (i.e.,  end  of  18th 
century).  Thoroughly  Irish  in  sympathy,  the  author  tries 
"  to  place  in  relief  everything  that  throws  light  on  the 
character  of  the  Gael."  Author  understands  technicalities 
of  music.  Work  ilhistrated  by  44  melodies  and  by  many 
quoted  poems.  A  highly  interesting  and  original  work,  but 
disfigured  by  careless  proof-reading. 

(h)  INSTRUMENTS. 

Armstrong  (Robert  Bruce).   Musical  Instruments: —  ' 
Part  I.  The  Irish  and  the  Highland  Harps.  Pp. 
199.    4to.     (Edinburgh:  Douglas).    £2.  1904. 

The  Irish  harp  occupies  137  pp.  Book  gives  its  descrip- 
tion, measurements,  and  construction,  existing  specimens, 
missing  specimens,  samples  of  music,  etc.;  very  beautiful 
Photogravure,  collotype,  and  block  illustrations. 


156  GUIDE  TO  BOOKS   ON  IRELAND. 

Part  II.  English  and  Irish  Instruments.  Pp.  168.  4to. 
(Edinburgh:  Constable).  £2.  1908.  Illustrated 
in  a  fashion  similar  to  Part  I. 

Part  I.  is  particularly  valuable  for  the  history  of  the  Irish 
Harp.    Only  180  copies  of  each  part.    Two  superb  volumes. 

•^'Sturrock  (J.  Percy).  Piping  for  Boys.  Foolscap 
4to.     (Stirling:  Eneas  Mackay).    Is.  6d.  net. 

A  Piper's  Primer  to  enable  young  men  and  boys  to  teach 
tliemselves  to  play  the  bagpipes.  "  The  author  .  .  . 
has  for  several  years  superintended  the  teaching  of  classes 
of  pipe  band  recruits." 

Croavest  (Frederick  J.),  ed.     The  Music  Story  Series. 

We  quote  verbatim  the  Prospectus  of  the  Series  : — 
"  The  aim  of  the  '  Music  Story  Series  '  is  to  make  them 
indispensable  volumes  upon  the  subjects  of  wliicli  they 
treat.  The^-  are  authoritative,  interesting,  and  educational 
books — furnished  with  appendices  which  give  them  per- 
manent value  as  works  of  reference,  data,  etc.  Each 
volume  tells  all  that  the  reader  may  want  to  know  upon 
any  of  the  aspects  of  musical  art  which  the  various  works 
of  the  series  cover." 

The  books  are  produced  in  the  highest  style  of  typographical 
excellence,  with  choice  illustrations  in  photogravure, 
collotype,  line,  and  half-tone  reproductions.  The  paper 
for  the  series  is  specially  made,  deckle  edge,  with  wide 
margins  for  readers'  and  students'  notes.  Each  vol.  is 
3s.  6d.  net.  Square  crown  8vo.  Between  200  and  300  pp. 
Published  by  The  Walter  Scott  Publishing  Co.,  London. 
Thirteen  vols,  have  appeared,  of  which  the  following  are 
of  Irish  interest  : — 

FL0.0D  (W.  H.  Grattan),  D.Mus.  The  Story  of  the 
Harp.    Pp.  210.  1906. 

Bv  the  Same.  The  Story  of  the  Bagpipe.  Pp.  250. 
1911. 

In  this,  the  story  of  the  bagpipe  from  remotest  times — it 
is  the  oldest  of  the  world's  instruments — to  the  present  day, 
is  clearly  told.  "  There  are  few  points  which  the  ordinary 
reader  desires  to  know  which  are  not  treated  fully  and 
learnedly  in  these  charming  pages." — (Scan-ghall)  Index 
and  bibliography. 


IRISH  MUSIC. 


157 


Eraser  (Alexander  Duncan),  :\I.D.,  D.P.H.,  Edin. 
Some  Eeminiscences  and  the  Bagpipe.  Pp.  432. 
Demy  8vo.  (Edinburgh:  Hay).  10s.  6d.  net. 
1908.    35  Collotype  Illustrations. 

Is  a  gossipy  treatise  on,  and  apologia  for,  the  bagpipe — 
its  history  from  Pan  to  the  Black  Watch,  its  uses,  its 
present  status,  its  music,  etc.,  with  a  stray  personal  note. 
Dr.  Fraser  shows  himself  to  be  a  perfervid  Scot;  and  he 
tells  a  good  story. 

Ml  LLiN  (S.Shannon).  The  Irish  Harp.  Pp.71.  (Bel- 
fast: Baird).    6  or  7  good  Illustrations.  1898. 

A  lecture  to  the  Ulster  Association  of  London.  At  end  a 
little  dissertation  by  John  Vinycomb  on  "  The  Harp  in 
the  Arms  of  Ireland." 

(c)  IRISH  DANCING. 

O'Keeffe  (J.  G.),  and  Art  O'Brien.  Handbook  of  Irish 
Dances.  Pp.  xxvii.  +  98.  (Dublin:  O'Donoghue). 
1902. 

An  excellent  handbook.  Useful  historical  notes  as  well  as 
a  practical  description  of  the  various  Dances,  and  a 
Bibliography.  No  music.  Dance  terms  given  throughout 
in  Irish  and  English. 

Sheehan,  J.  J.    A  Guide  to  Irish  Dancing.     Pp.  48. 
(London:  John  Denvir).  1902. 
A  capital  little  handbook. 

(d)  TECHNICAL  AND  MISCELLANEOUS. 

'•'O'Neill  (Francis).  Irish  Folk  Music:  A  Fascinating 
Hobby.  (Chicago:  The  Regan  Printing  House). 
Pp.  359.  1911. 

The  miscellany  of  a  collector  of  Irish  music.  Treats  such 
subjects  as  the  history  of  certain  tunes,  the  variations  in 
their  titles,  their  origin.  Include  O'Farrell's  Treatise  on 
the  Union  Pipes  and  Touhey's  Hints  to  Amateur  Pipers. 
Profusely  illustrated,  especially  with  photos. 
This  is  a  charming  book  by  a  zealous  lover  of  Iri^h  folk 
music.    Mostly  letterpress,  with  a  few  music  examples. 


158 


GUIDE  TO  BOOKS   ON  IRELAND. 


Henebry  (Rev.  Richard).  Irish  Music.  Pp.37.  1903. 
(Dublin).  Is. 

A  scientific  examination  of  Irish  scales,  considered  by  good 
authorities  to  be  a  misrepresentation  of  Irish  modes.  The 
pamphlet  is  now  scarce. 

*MacDonald  (Donald).    Irish  Music  and  Irish  Scales. 
Pp.  8.    (Breitkopf).    Is,  1910. 
Of  no  particular  value. 

CuLwiCK  (James  C),  Mus.Doc.  The  Distinctive  Char- 
acteristics of  Ancient  Irish  Melody ;  the  Scales  .  .  . 
Pp.  31.     (Dublin:  Ponsonby).  1897. 

Journal  of  the  Irish  Folk-Son g  Society. 

The  Irish  Folk-Song  Society  was  founded  in  London  in 
1904,  mainly  through  the  enthusiasm  of  Mrs.  Milligan  Fox. 
It  has  published  11  numbers  of  a  Journal,  and  has  done 
good  work  in  rescuing  many  folk  melodies  from  oblivion, 
as  well  as  in  popularising  old  Irish  airs.  Another  Society 
was  founded  in  Dublin,  as  the  result  of  an  informal  Con- 
ference at  the  Oireachtas  in  1911,  the  objective  being  to 
propagate  old  Irish  melodies  with  Irish  words.  No  results 
are  as  yet  forthcoming. 

(e)  INSTRUCTION  IN  MUSIC. 

See  account  of  "  The  Irish  Tonic  Solfaist  "  and  of  the  "  Erin 
Song  Book'^  on  pp.  13o  and  136.      Also  under  (6)  above, 
Instruments." 


V.-IRISH  PLAYS. 


By  Joseph  Holloway. 

[The  following  is  not  a  bibliography  of  plays  by 
Irish  writers,  but  a  list  of  plays  Irish  in  subject. 

They  are  arranged  chronologicalh',  but  the  works  of 
each  author  are  kept  together,  all  being  entered  in  the 
list  under  the  date  of  the  first  play  by  that  author. 

The  periods  are  chosen  arbitrarily  and  merely  for 
convenience. 

Authors  still  living  (October.  1911)  are  in  many  cases 
indicated  by  an  asterisk. 

A  short  bibliography  of  books  about  the  Irish 
Theatre  will  be  found  on  p.  4(3. 

For  reasons  stated  in  Preface,  plays  written  in  Irish 
— unless  such  as  have  been  translated  into  English — 
are  not  included  in  the  following  list. — Ed.] 

Before  1700. 

The  Pride  of  Life.     An  Old  Irish  Morality. 

Performed  at  the  Holy  Trinity  Church,  Dublin,  about  the 
middle  of  the  Sixteenth  Century.  The  piece,  in  a  muti- 
lated state,  is  to  be  found  at  the  back  of  the  "  Records  of 
the  Holy  Trinity  Churchy''  in  the  Royal  Irish  Academy, 
Dublin.  James  Starkey  (Seumas  0 'Sullivan),  the  poet, 
gave  me  this  piece  of  information  as  we  rummaged  amongst 
the  book  barrows  in  a  street  off  the  quays  one  Saturday 
afternoon  in  December,  1911. 

The  Irish  Knight.  Play. 

Acted  by  the  Earl  of  Warwick's  servants,  1576. 

GiRALDi  (Giovanni  Battiste),  otherwise    Cixtiiro  **  

Arrenopia.  A  Play  written  in  Italian  and  printed 
in  16th  century. 

The  scene  is  laid  in  Limerick.  This  plav  is  in  the  Gilbert 
Library.  The  entry  runs  thus: — ''Arrenopia  tragedie  di 
M.  Gio.  Batt.  Giraldi  '  Cinthio  '  nobilo  Ferrarese,  Con 
Privilege  Venese,  1583."  Arrenopia  is  the  daughter  of  a 
King  of  Scotland,  and  marries  the  King  of  Ireland. 


160  GUIDE  TO  BOOKS   OX  IRELAND. 

Hughes  (Thomas),  and  Others.  The  Misfortunes  of 
Arthur.  A  Play.  Printed  in  London,  by  Robert 
Eiobinson.  1587. 

Played  at  Greenwich  before  Queen  Elizabeth  on  February 
28th,  1588.  To  every  act  of  this  performance  there  was 
an  argument,  a  dumb  show,  and  a  chorus.  "  Contrasted 
with  the  character  of  Peace,  in  one  of  the  symbolical  dumb 
shows,  was  another,  with  black,  long,  shagged  hair  down  his 
shoulders,  appareled  with  an  Irish  jacket  and  short,  having 
an  Irish  dagger  in  his  hand."  This  figure,  by  an  associa- 
tion of  ideas,  was  supposed  to  represent  Revenge  and  Fury. 

Shakespeare  (William).  King  Henry  V.  Historical 
Play  in  5  Acts.  ^  Written  1598  (?).  Published 
imperfectly  1600. 

Macmorris,  an  Irish  officer  in  King  Henry's  army,  is  one 
of  the  cast. 

The  History  of  Sir  John  Oldcastle.  A  pseudo-Shake- 
sperian  Play. 

In  this  piece  there  is  a  grim  sketch  of  a  despicable  Irish 
lackey,  "  Mack  Shane  of  Ulster,"  as  he  stales  himself, 
who  murders  his  master  for  his  chain  and  jewellery.  He 
appears  in  the  play  garbed  as  an  Englishman,  having 
exchanged  attire  with  another  character. 

Dekker  (Thomas).    Old  Fortunatus.  Comedy.  (1600). 

There  is  an  Irish  character  in  the  cast.  Acted  before  the 
Queen  at  Christmas,  by  the  Earl  of  Nottingham's  servants, 
1600.  The  plot  of  it  is  founded  on  the  ancient  story  of 
Fortunatus  and  his  inexhaustible  purse  and  wishing  cap. 
The  scene  lies  partly  at  Fama  Gosta,  in  the  Island  of 
Cyprus,  and  partly  in  the  Court  of  England  during  the 
reign  of  Athelstan. 

  The  Honest  Whore.    (1604).    Part  2. 

Though  the  action  of  this  play  is  laid  in  IMilan,  a  humble 
Irishman,  in  the  character  of  Bryan,  a  servant,  is  intro- 
duced. 

 The  Whore  of  Babylon.     A  History.  (1607). 

In  this  piece  the  author  symbolises  the  dead  Queen  Eliza- 
beth as  Titania,  Queen  of  the  fairies.  To  her  come  three 
kings  on  a  mission,  and  one  of  them  champions  the  cause 
of  lerne. 


TRTSTT  PLAYS. 


Webster  (John).  The  White  Devil.  A  Tragedy. 
(1612). 

Scene,  Venice.  W.  J.  Lawrence,  tlie  tliiatiical  liistory 
expert,  writes  : — "  Local  colour  is  sadly  to  seek  in  Seven- 
teenth century  dramaturgy.  Where  the  scene  is  laid  in 
Italy,  the  action  almost  invariably  takes  place  in  contem- 
porary London.  Note,  for  example,  the  recurring  Irish 
allusions  in  ^Yebster's  The  White  Devil." 

Haywood  (Thomas).  The  Four  Prentices  of  London, 
with  the  Conquest  of  Jerusalem.  (1G15).  His- 
torical Play. 

In  this  play  a  dumb  show  of  Irish  kerns  mourning  a 
corpse  in  a  dead  march  is  introduced  into  the  middle  of 
the  first  act,  probably  witli  the  view  of  emphasising  the 
fact  that  the  action  is  transpiring  in  Ireland.  Later  in 
the  act  Eustace  and  his  trustv  Irish  servant  are  shown  in 
Italy. 

Field  (Nathaniel).  Amends  for  Ladies.  Comedv. 
(1618). 

In  this  piece  Lady  Honour  disguises  herself  "  like  an  Irish 
footboy  with  a  dart."  Scene,  London.  The  plot  of 
Subtle 's  tempting  the  wife  at  the  request  of  the  husband, 
seems  founded  on  the  novel  the  "  Curious  Impertinent  " 
in  Dox  Quixote.  This  play  was  written  by  the  author  by 
way  of  making  the  ladies'  amends  for  a  comedy  called 
Woman's  a  Weathercock ,  which  he  had  written  some  years 
before,  and  whose  very  title  seemed  to  be  a  satire  on  \heir 
sex. 

JoNSON  (Ben).  The  New  Inn;  or,  The  Light  Heart. 
Comedy.  (1629).  Printed  1631. 
Ben  Jonson  was  born  at  Westminster  in  June,  1574,  and 
died  in  August,  1637,  aged  63,  and  was  buried  in  West- 
minster  Abbey.  He  introduced  Irish  characters  into  this 
comedy  as  well  as  into  TJic  Irish  Masque  at  Court.  The 
title  page  of  the  printed  play  reads  as  follows  : — "  The  New 
Inn,  or,  The  Light  Heart.  A  comedy,  never  acted,  but 
most  negligently  played  by  some  of  the  King's  Servants, 
and  more  squeamishly  beheld  and  censured  by  others 
the  King's  subjects,  1629.  Now  at  last  set  at  liberty  to 
the  Readers,  liis  Majesty's  Servants  and  Subjects,  to  be 
judged." 

M 


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 The  Irish  ]\[casque  at  Court.        Printed  1640. 

Presented  bv  Gentlemen  and  King's  Servants, 
1613. 

Jonson  wrote  over  fifty  dramatic  compositions. 

The  Irish  Rebellion.    Anon.    Acted  circa  1623. 

Sir  H.  Herbert  licensed  a  new  plav  bv  Kirke,  mider  this 
title.  1642. 

Ford  (John).    The  Chronicle  Historv  of  Perkin  War- 
beck.   A  Strange  Truth.    (16345.    Printed  1714. 

Acted  at  the  Phoenix.  Driiry  Lane,  1634.  The  play  is 
founded  on  the  History  of  that  strange  pretender  to  the 
Crown,  who  set  liimself  up  and  caused  himself  to  be  pro- 
claimed King  of  England,  declaring  himself  to  be  Richard 
Duke  of  York,  brother  of  Edward  V.,  who  lost  his  life  in  the 
Tower,  as  may  be  seen  in  tlie  English  Historians,  in  the 
reign  of  Henry  VII.  Scene,  England.  An  Irish  character 
is  introduced  into  this  play. 

Shirley  (James).    Hyde  Park.  Comedy. 

Acted  at  the  private  house,  Drury  Lane,  1637.     "  Teague 
was  the  common  nickname  for  Irishmen  in  the  seventeenth 
century.     Note  its  use  in  this  comedy.      "  Paddy  "  sup- 
planted it  about  the  close  of  the  eighteenth  century. 

■ — -  St.  Patrick  for  Ireland,  Historical  Play.  (1640). 

For  the  plot  of  the  play,  Bede's  Life  of  St.  Patrick,  etc., 
were  consulted.  Shirley  was  born  in  London  in  1594,  and 
died  of  terror,  occasioned  by  the  great  fire  of  London  in 
1666.     He  wrote  39  plays. 

BuRKHEAD   (Henrv).     Cola's    Furvi    or.  Lirenda's 
Misery.    Tragedy.  (1645). 

The  subject  of  this  play  is  the  Irish  rebellion  which  broke 
out  in  the  year  1641.  In  it  the  dramatist  has  characterized 
all  the  principal  persons  concerned  in  the  affairs  of  that 
time  under  feigned  names.  And  even  the  second  title  of  the 
piece,  viz.,  Lircnda's  Misery,  is  expressive  of  the  subject 
aimed  at  Lirenda  being  no  more  than  an  anagram  (which 
was  a  kind  of  quibble  then  much  in  vogue),  formed  from 
the  letters  which  compose  tlie  name  of  Ireland.  Printed 
at  Kilkenny,  1645. 


TRTSTT  PLAYS. 


Head  (Richard).    Hie  et  Ubique;  or,  The  Humours  of 
Dublin. 

"  This  play  is  said  to  have  bocn  acted  privately  with  general 
applause."  1663.  Scene,  Dublin.  A  printed  copy  of  this 
play  is  in  tlio  Bodleian  Library,  Oxford. 

Howard  (Sir  Robert).    The  Committee;  or,  The  Faith- 
ful Irishman. 

A  play  produced  in  1665,  in  which  the  character  of  Teague, 
a  simple-minded,  honest  fellovv^,  was  drawn  from  life.  This 
play  was  turned  into  a  farce  by  Thomas  Knight,  an  actor, 
in  1797.  The  farce  (in  2  acts)  was  called  The  Honest 
Thieves.  Cast  :  11  males  and  3  females.  John  Lacy  was 
the  original  Teague.     He  died  in  1681. 

Shadwell  (Thomas).     The  Lancashire  Witches  and 
The  Amorous  Bigot. 

Two  political  plays  with.  "  malignant  portraiture  of  the 
Irish  priesthood  in  them."  Shadwell  was  poet  laureat 
to  King  William  III.  He  was  born  at  Lauton  Hall 
in  Norfolk,  in  1640.  He  wrote  The  Lcmcashire  Witches 
and  Teague  O'Divellyy  the  Irish  Priest,  in  1682,  and  The 
Aviorous  Bigot,  with  the  second  part  of  Teague  O'Divelly, 
in  1690.  The  former  was  acted  at  the  Duke's  Theatre, 
1682,  and  the  latter  acted  by  His  Majesty's  Servants  at  a 
date  not  given. 

Crowne  (John).     Citv  Politics.     Comedv.  (1676). 
'  Printed  1683. 

This  play  w^as  a  very  severe  satire  upon  the  Whig  party 
then  prevailing.  The  scene  is  laid  in  Naples,  and  a 
"  foolish,  mistaken  Irish  witness  "  is  introduced  who  proves 
a  shameless,  lying  rogue,  with  a  love  for  usquebaugh. 

The  Royal  Voyage ;  or,  The  Irish  Expedition, 

In  which  the  momentous  struggle  between  England  and 
the  last  of  the  Stuarts  is  treated  with  vigour  flippantly. 
Produced  at  Saffrv's  booth  at  Bartholomew  Fair  in  the 
year  1689. 

The  Eighteenth  Century. 

Farquiiar  (George).    The  Twin  Rivals. 

A  comedy  presented  at  Drury  Lane  in  1703,  in  which 
Teague  again  appears. 


IGi  GUIDE  TO  BOOKS   OX  IRELAND. 

 •  The  Beaux'  Stratagem.     A  Comedy  in  5  Acts. 

In  which  Isaac  Sparks  appeared  as  Foigard.  Cast  :  10  males 
and  4  females.  Comedy  acted  at  Haymarket,  1707.  This 
play  was  begun  and  ended  in  six  weeks,  the  author  labour- 
ing all  the  time  under  settled  ihness,  which  carried  him 
off  during  the  run  of  his  piece.  Farquhar  born  at  London- 
derry in  1678.    Father  a  clergyman. 

Cextliver  (Mrs.  Susanna).    A  Wife  Well  ]\ranagecl. 
A  Farce.  1715. 

"  Teague,"  an  Irishman,  is  included  in  the  cast.  Mrs. 
Centliver,  whose  maiden  name  was  Freeman,  was  born  in 
Dublin  about  1667,  and  died  in  1729.  She  married  three 
times;  her  last  husband  gave  her  the  name  by  which  she 
is  known  to  fame.     She  wrote  19  plays. 

Plays  by  Charles  Shadwell. 

  Eotheric  O'Connor,  King  of  Connaught;  or,  The 

Distressed  Princess.  Tragedv.  Acted  in  Dublin, 
1720. 

The  plot  is  borrowed  from  Irish  historians,  and  the  title 
jDoints  out  where  the  scene  is  laid. 

 The  Plotting  Lovers;  or.  The  Dismal  Squire. 

Farce. 

This  piece  was  acted  in  Dublin,  1720.  It  is  a  '*  transla^ 
tion  with  liberty  "  of  Moliere's  Monfi.  de  Poiirceaugnac, 
The  scene  is  laid  in  Dublin;  time  of  representation,  one 
hour. 

■         Irish  Hospitality ;  or,  Virtue  Rewarded.  Comedy. 

(1720). 

The  scene  is  laid  at  Mount  Worthy  in  Fingall.  Shadwell 
was  a  relative  of  Thomas  Shadwell,  the  poet-laureat.  He 
enjoyed  a  post  in  Dublin,  in  whicli  citv  he  died  on  the 
11th  of  August,  1726. 

CoxcANEN  (Matthew\    Wexford  Wells.   Comedy  with 
songs.  (1721). 

He  was  a  native  of  Ireland.    Tliis  was  his  only  play. 

Phillips  (William).    Saint  Stephen's  Green;  or,  The 
Generous  Lovers.    Comed3\  (1720). 

 Ilibeiniia  Freed.  Tragedy. 

Acted  at  the  Theatre  in  Lincoln's  Inn  Fields,  1722. 


IRISH  PLAYS. 


1(J5 


HiPPiSLEY  (John).  A  Journej''  to  Bristol;  or,  The 
Honest  Welshman.  Farce.  Lincoln's  Inn  Fields. 
Printed  1729. 

(Sec  The  Connaught  Wife), 

MiCHELBURNE  (John).  Ireland  Preserved;  or,  The 
Siege  of  Londonderrv.  Tragi-Comedv.  Printed 
in  Dublin,  1738-9. 

Baker  states  in  "  Biograpliia  Dramatica  "  : — "  This  play 
was  written  by  John  Michelborne,  one  of  the  Governors  of 
Londonderry  during  the  siege  of  it  "  (1688-9).  There  was 
an  earlier  edition  printed  in  1707.  This  piece  was  also 
published  anonymously  in  1692  as  Piety  ancl  Valour;  or, 
Dcrnj  Defended, 

CuTTS  (J.).  Eebellion  Defeated;  or,  The  Fall  of 
Desmond.    Printed,  1745. 

Mendez  (Moses).  The  Double  Disappointment.  Farce. 
Acted  at  Covent  Garden,  1747. 

The  piece  is  about  a  young  girl  who  has  two  strings  to 
her  bow  :  an  Irishman  and  a  Frenchman,  both  of  them 
fortune  hunters  of  humble  origin.  The  Irish  role  was  filled 
by  Barrington.     Play  printed  in  1760. 

llibernia's  Triumph.  Masque  in  2  Interludes.  Acted 
at  Dublin.    Printed,  1748. 

Sheridan  (Thomas).  Captain  O'Blunder;  or,  The  Brave 
Irishman.  A  Farce,  based  on  one  of  Moliere's 
plaj's. 

It  was  written  by  him,  when  at  school,  about  the  year 
1740.  Isaac  Sparks  was  the  original  Captain  O'Blunder. 
First  acted  in  Dublin  about  1748.  Mr.  Sheridan  was  the 
father  of  R.  B.  Sheridan.  He  was  born  at  Quilca,  in  the 
County  of  Cavan,  and  was  manager  of  a  Dublin  theatre 
for  about  eight  years. 

Stevens  (George  Alexander).  The  Humours  of  an 
Irish  Court  of  Justice. 

Dramatic  satire,  dated  London,  12,  1750.  Isaac  Sparks 
appeared  as  the  judge  in  the  burlesque  court  scene.  Stevens 
was  a  well-knoTO  entertainer  in  his  day,  and  travelled 
about  with  a  strange  medley  performance,  called  A  Lecture 
en  Heads, 


1G6 


GUIDE  TO  BOOKS   ON  IRELAND. 


Stevens  (G.  A.).    The  True  Born  Irishman.  Farce. 
Acted  at  York,  1771. 

Probably  a  version  of  Maeklin's  comedy  of  the  same  name. 


MuRPnY  (Arthur).  The  Apprentice.  A  Farce.  (1756). 

There  is  an  Irish  servant,  alleged  to  be  comic,  in  this  play. 
Miu'iihy  was  born  at  Clooniquin,  Co.  Eoscommon,  1727, 
and  died  at  Knightsbridgo,  London,  on  June  18th,  1805. 
Murphy  was  a  x)rolific  dramatist. 

Beauniarchais — La    Mere    Coupable     (The  Guilty 
Mother). 

This  piece  has  an  atrocious  Irish  villain  in  it,  with  an 
impossible  name,  who  conspires  with  his  equally  disreput- 
able Irish  friend,  O'Connor,  to  ruin  the  virtuous  French 
characters.     Written  in  the  18th  century. 


AsHTON  (Eobert).     The  Battle  of  Aughrini;  or,  The 
Fall  of  Monsieur  St.  Ruth. 

A  blank-verse  play,  in  5  Acts,  published  in  Dublin,  1756. 
Cast  :  12  males  and  2  fem.ales.  Scene  :  The  Irish  Camp 
near  Athlone  (July  12th,  1691).  Sarsfield,  Lord  Lucan, 
is  one  of  the  chief  characters  in  the  play.  From  a  rhym- 
ing prologue  to  the  piece  I  extract  the  following  lines  : — 

"  But  should  the  play  fall  short  upon  my  truth, 
You  may  impute  it  to  our  author's  youth. 
Scarce  tender  twenty,  faith  a  childish  age, 
To  bring  so  great  a  subject  on  the  stage, 
Then  critics  judge  with  temper  as  you  sit 
Nor  let  no  malice  over-rule  your  wit. 
For  if  you  do,  by  Jove  we'll  damn  your  pit." 

And  again — "  Now  to  the  ladies  we  submit  the  cause. 

And  from  their  eyes  expect  to  gain  applause; 
For  at  the  first  our  author  took  a  care 
To  find  a  little  love  to  please  the  fair, 
Then  ladies,  pray  do  justice  every  way, 
Pity  his  youth,  and  strive  to  save  his  play; 
But  if  it  must  be  damned,  why  dam.n  away." 


IRISH  PLAYS. 


1G7 


CoLMAN  (George)  (the  elder).  (1732-1794).  The 
Jealous  Wife.  A  Comech'  in  2  Acts.  Founded 
on  Fielding's    Tom  Jones." 

Containing  a  not  very  pleasing  type  cf  Irishman  in 
"  Captain  0 'Cutter."  Cast:  8  males  and  4  females.  Pro- 
diicccl  in  1761. 

Reed  fJoseph).  The  Register-Oftice.  A  Farce  in  2 
Acts.  (1761). 

This  eighteenth  century  farce  contains  the  cliaracter  of  an 
"  Irishman  "  originally  filled  by  John  Moody.  Cast  :  10 
males  and  4  females.  It  is  to  be  found  in  Vol.  14  of  Bell's 
British  Theatre  (London). 

Phu's  by  CuARLES  Macklin. 

  The  True  Born  Irishman.  A  Comedy  in  2  Acts. 

First  produced  at  Theatre  lloyal.  Crow  Street,  Dublin,  on 
Mav  14th,  1762,  and  revived  bv  the  Theatre  of  Ireland, 
at  Dublin,  on  February  18th,  1910.  Murrogh  O'Dogherty, 
a  true  lover  of  all  things  Irish,  has  a  wife  who,  on  her 
return  from  a  visit  to  London,  despises  everything  Irish 
and  worships  all  that  comes  from  across  the  Channel. 
The  play  revived  surprisingly  well — the  sentiments  being 
as  applicable  to  the  pi'esent  day  as  they  were  in  the 
eighteenth  century.  Cast  :  6  males  and  6  females. 
Maclaughlin  was  Macklin 's  right  surname.  He  was  born 
in  AYestmeath  in  1690,  and  died  in  1797,  at  the  great  age 
of  107,  and  was  buried  in  St.  Paul's,  Covent  Garden. 

— —  The  Irish  Fine  Lady.  Farce. 

Acted  at  Covent  Garden  one  night  only,  November  28th, 
1767.    (Sec  The  True  Bom  Irishman).  " 

  Love  a  la  Mode.    A  Comedy  in  2  Acts.  riTGO). 

J.  Moody  first  played  the  role  of  Sir  Callagan  O'Brallaghan, 
and  was  the  first  to  bring  the  stage  Irishman  into  repute. 
Cast:  5  males  and  1  female.  Dublin:  1793.  In  Jones's 
British  Theatre,  and  many  later  editions  in  England  and 
America. 


Love  is  the  Conqueror ;  or,  The  Irish  Hero. 

MSS.  play  in  Charles  Macklin 's  Library. 


1G8 


GUIDE  TO  BOOKS   ON  IRELAND. 


Olive  (Mrs.  Catherine).  The  Faithful  Irishwoman. 
Farce,  Acted  at  Drury  Lane,  March  18th,  17G5, 
for  her  benefit. 

Mrs.  ClivG,  who  was  a  great  comic  actress,  was  born  in 
1711.  Her  father — William  Rafter — was  a  native  of  Kil- 
kemiy.  She  made  her  first  appearance  on  the  stage  of 
DrurV  Lane  in  1728,  in  boy's  clothes,  in  the  character 
of  a  page,  in  the  tragedy  of  Milhridates,  King  of  Pontus. 
In  1732  she  married  G.  Clive. 

.The  Connaught  Wife.      Comeclv  in  2  Acts.  Per- 
formed at  Smock  Alley,  Dublin,  1767. 

This  is  Hippisley's  Journcij  to  Bristol  altered). 

Teague's  Ramble  to  London.  Interlude.  Haymarket. 
London,  1770. 

Cumberland  (Ptichard).  The  West  Indian.  Comedy. 
(1771). 

Major  O'Flagherty  is  one  of  the  cliai'acters  of  the  comedy, 
and  the  antlior  tells  us  it  was  written  during  a  visit  to  his 
father  (Bishop  of  Kilmore)  in  1770,  in  a  little  closet  at 
the  back  of  the  Bishop's  palace,  at  Clonfert,  "  liaviug  no 
prospect  but  a  single  turf  stack."  Performed  at  Drury 
Lane,  1771.  John  Moody  was  the  original  O'Flagherty, 
but  Robert  0\\enson,  fatlier  of  Lady  Morgan,  afterwards 
played  it  to  2)erfection. 

GRiFFiTn  (Amyas).     Swaddler.     A  Farce.  (1771). 

Born  in  Roscrea,  Tipperar\',  1746.  AY.  J.  Lawrence  told 
me  this  piece  contains  some  Irish  characters. 

McDermott  fJoliii  l  The  Milesian.  A  Comic  Opera. 
(Dublin).  1772. 

Performed  at  Smock  Alley  Tlicatj-e,  Dublin,  on  November 
26,  1772.  D.  J.  O'Donoghue,  in  his  Ijook,  TJie  Poctb  of 
Ireland,  asks  :  "  Can  this  be  connected  in  any  way  ^^-itl^ 
Isaac  Jackman  s  piece?  " 


IRISH  PLAYS. 


1G9 


Garrick  (Uavid).    The  Irish  Widow.    A  Farce  in  2 
Acts. 

Cast  :  6  males  and  1  female.  First  acted  at  Drurj  Laiio, 
1772,  with  Mrs.  Barry  in  title  role.  A  nephew  and  guar- 
dian  fall  in  love  with  a  widow,  and  the  latter  refuses  to 
give  his  consent  to  the  marriage,  or  give  his  nephew  any 
fortune,  he  wanting  the  sprightly  lady  for  himself.  By  a 
trick  being  played  on  the  old  man,  he  is  glad  to  get  rid 
of  the  widow,  and  willingly  hands  her  over  to  the  nephew 
with  a  tidy  fortune,  only  to  find  out  he  has  been  fooled 
by  both.  With  trifling  alterations  it  would  act  w^ell. 
Garrick  was  born  at  Hereford,  1716.  He  was  a  son  of 
Peter  Gairick,  a  Captain  in  the  Army. 


DoBBs  (Francis).     The  Putriot  King;  or,  The  Irish 
Chief.  Tragedy. 

Acted  at  Smock  Alley,  Dublin,  1774.  Dobbs  was  a  native 
of  Ireland. 


Kelly  (Hugh).    School  for  Wives.    A  Comedy  in  6 
Acts,  • 

In  which  Connolly,  a  good-hearted,  whole-souled  Irishnum, 
disported  himself  "without  the  author  betraying  partiality 
on  the  one  hand,  or  descending  into  caricature  on  the 
other."  Cast:  8  males  and  4  females.  Produced  at 
Drury  Lane  in  1774.  The  plot  is  one  of  intrigue,  and  tells 
how  a  loving,  trusting  wife  weans  her  profligate  husband 
from  his  vicious  ways  by  kindness;  and  also  how  an  aged 
General  and  his  son  play  amusingly  at  cross-purposes  for 
the  hand  of  the  same  young  lady. 

Sjieridan  (Richard  Brinslev).   The  Rivcils.  Comedy 
in  5  Acts.  "  ^ 

Sir  Lucius  0 Trigger,  a  duel-loving  Irishman,  plavs  an 
™PO[^ant  part  in  the  piece.  The  storv  of  Sir  Anthonv 
Absolute  forcing  his  son  to  marrv  the  girl  he  is  actually 
in  love  with,  though  he  is  not  aware  of  the  fact  at  the 
time  makes  delightful  comedy.  Cast:  9  males  and  o 
fernalcs.    Produced  at  Covent  Garden  in  1775,  with  Lee 

""^-i  r'r    i^^^'^*"  Pl^yi"g  nearly  wrecked  the  comedy 

until  Clinch  came  to  the  rescue  in  the  part. 


170 


GUIDE  TO  BOOKS   ON  IRELAND. 


  St.  Patrick's  Day ;  or.  The  Scheming  Lieutenant. 

A  Farce  in  2  Acts.  First  plaved  at  -Covent  Gar- 
den, May  2,  1775. 

Ill  order  to  win  his  way  to  his  loved  one,  a  lieutenant 
lias  to  assume  many  disguises  -and  resort  to  all  sorts  of 
devices  to  hoodwink  her  parents,  who  will  have  nought  to 
do  with  him.  Success  comes  his  way  in  the  end. 
Eighteenth  century  costume.  Sheridan  was  born  in  Dublin 
in  1751,  and  died  in  1816. 

DiBDiN  (C).     1715-1814.    Irish  Chairman. 

Jackman  flsaac).  The  Milesian.  A  Cumic  Opera. 
(London,  1777). 

Le  Fanu  (Peter).  Smock  Alley  Secrets;  or.  The  Man- 
ager Worried.  Occasional  prelude.  Dublin. 
1778. 

Cowley  (Mrs.  H.).  The  Belle's  Stratagem.  Comedy 
in  5  Acts. 

Cast  ;  9  males  and  6  females.  Tyrone  PoAver  played  Flutter 
in  this  comedy  at  the  lloyal,  Dublin,  in  1820,  First 
played  at  Covent  Garden  in  1780.  This  and  most  of  the 
old  plavs  mentioned  herein  are  published  in  "  Dicks' 
Standard  Plays." 

Macauley  (John).     The  Genius  of  Ireland.  Masque. 
(An  imitation  of  Comus).    Printed  1785. 
Acted  at  Dublin, 

Plays  by  John  O'Keeffe. 

  The  Shamrock;  or.   The  Anniversary  of  St, 

Patrick,    Farce.    Covent  Garden,  April,  1783. 
(Changed  to  TJic  Poor  Soldier), 

  Patrick  in  Prussia, 

A  Comic  Opera,  in  2  Acts,  with  all  the  original  songs  .  »  . 
being  a  sequel  to  TJic  Poor  Soldier.  Dublin  :  J.  M.  Davis, 
1786.  (New  edition).  First  plaved  at  Covent  Garden, 
February  17,  178G. 


IRISH  PLAYS. 


171 


The  Poor  Soldier. 

Comic  Opera,  in  2  Acts,  with  music  partly  selected  and 
partly  composed  by  William  Shield.  Covent  Garden, 
1783;  Smock  Alley," January  16th,  1784.  (See  The  Sham- 
rock), The  scene  is  at  Carton,  Co.  Kildare.  Norah  is 
loved  by  Pati-ick,  a  soldier,  and  also  by  Captain 
Fitzroy.  The  Captain,  hearing  that  Patrick  was  the  man 
Avho  had  saved  him  in  battle,  gives  up  his  pursuit  of  Norah. 
There  are  airs  by  Carolan  in  the  opera.  Cast  :  6  males,  2 
females  and  a  boy. 

The  Wicklow  Mountains;  or.  Gold  in  Ireland. 

A  Drama,  in  2  Acts.  Seventeenth  century  costumes. 
Cast  :  7  males  and  2  femak^s.  First  produced  at  Covent 
Garden,  London,  on  April  11th,  1795.  O'Keeffc  was  a 
most  prolific  and  popular  dramatic  writer.  He  was  born 
in  Dublin  on  June  24th,  1747,  and  died  in  1843. 

The  Irish  Mimic. 
Musical  piece,  produced  in  1795. 

The  Lad  of  the  Hills  (see  The  Wicklow  Moun- 
tains). 

Comic  Opera.  Covent  Garden,  London,  April  9th,  1796. 
Reduced  to  an  after  piece  and  called  Wickloiv  Gold  Mines. 
Felix  finds  some  bits  of  gold  on  one  of  the  mountains, 
which  his  old  nurse  sells  for  him  in  Dublin,  and  his  neigh- 
hours  think  he  must  have  got  the  monev  bv  robbing  the 
Mail.  ^ 

Love  in  a  Camp;  or,  Patrick  in  Prussia. 

Musical  piece  (1798).    (Sec  Patrick  in  Prussia). 

Wicklow  Gold  Mines;  or,  The  Boy  from  the 
Scalp.  Farce. 

Tyrone  Power  appeared  for  the  first  time  as  Billy  O'Rourke 
in  this  piece  in  Dublin  on  July  14th,  1830.  Cast  :  4  males 
and  2  females. 


Dramatic  Works.     4  vols.     London.  1798. 


172  GUIDE  TO  BOOKS   ON  IRELAND. 

Stuart  (C).   The  Irishman  in  Spain.  Farce. 

Taken  from  the  Spanish.  Haymarket,  London,  x\ugust 
3rd,,  1791.  (Prmted  1791.)  Fh'st  called  She  Would  he  a 
Duchess. 

Byrne  (M.).      Dermot  and  Kathleen;  or,  The  Irish 
Wedding. 

Ballet.  Covent  Garden,  London,  1793.  (Cliaracters  same 
as  those  in  The  Poor  Soldier.) 

  Patrick's  Return. 

Ballet,  Drury  Lane,  London,  February  5th,  1817. 

RoBSON  (H.).    Money  at  a  Pinch;  or,  The  Irishman's 
Frolics. 

Musical  Entertainment.  Covent  Garden,  London,  April 
25th,  1793. 

Arrival  at  Crow  Street ;  or,  Thespian  from  Tanderagee. 

Drama,  in  one  Act.    Dublin,  1796. 

Reynolds  (George  Xugent).     Bantry  Bay. 

Musical  Interlude,  in  one  Act,  with  music  by  W.  Reeve. 
Covent  Garden,  London,  February  18th,  1797.  (Printed 
1797).  It  is  loyal  in  tone,  and  deals  with  the  French 
invasion. 

Knight  (Thomas).    The  Honest  Thieves.    A  Farce. 

Theatre  Royal,  Dublin,  July,  1843,  with  Dennis  Leonard 
as  "  Teague."    (Original  production,  1797.) 

Arnold  (S.  J.),  Libretto  by,  and  Arnold  (Dr.),  Music 
by.    The  Irish  Legacj^ 

Haymarket,  June  26th,  1797. 

Oulton  (Walley  Chamberlain).    The  Irish  Tar. 

Musical  Interlude,  produced  1797. 

The  Tight  Irish  Boy. 

Played  at  Covent  Garden,  London,  May  9,  1797. 


IRISH  PLAYS. 


17B 


Early  Nineteenth  Century  (I800-I83I). 

HoLMAN  (J.  G.).     What  a  Blunder!     Comic  Opera. 

First  played  at  the  Haymarket  in  August,  1800.  Of  Sir 
Sturdy  0 'Tremor,  the  irish  character  in  the  piece,  played 
by  Jack  Johnstone,  W.  J.  Ijawrence  writes  :  "  An  Irish 
soldier  seeking  his  fortune  in  Spain,  Sir  Sturdy  is  a  vigorous 
specimen  of  Celtic  manhood,  but  he  suffers  from  the 
queerest  kind  of  intermittent  hypochondria.  When  de- 
prived of  his  lady  love,  he  fancies  himself  the  victim  of  all 
sorts  of  disorders,  a  state  of  whimsical  morbidity  that  only 
the  recovery  of  his  mistress  finally  dispells." 

Cross  (J.  C).  The  Enchanted  Harp;  or.  Harlequin 
for  Ireland. 

Dramatic  spectacle.  Royal  Circus,  London.  (Printed  1802). 

 ■  Tlie  Round  Tower;  or,  The  Chieftains  of  Ireland. 

Covent  Garden,  London.    (Printed  1809). 

MouLTER  ( — ).  The  Irishman  in  Italy  (False  or  True). 
Comedy,  1806. 

CoLM AN  (George).  The  Younger.  (1763-1836).  John 
Bull ;  or,  The  Englishman's  Fireside.  Comedy  in 
3  Acts. 

^Yhen  Dion  Boucicault  revised  the  play  he  appeared  as 
Dennis  Bulgruddery.  Cast  :  14  males  and  3  females.  Ori- 
ginally produced  at  Covent  Garden,  March  5,  1803.  This 
fine  old  comedy  tells  the  story  of  a  wronged  young  girl 
righted,  and  of  an  elder  brother  claiming  his  property  on 
seeing  his  younger  misuse  his  power.  Dennis,  an  inn- 
keeper, is  an  important  character  in  the  piece.  One  of 
his  sayings  is  :  "  Lodge  in  my  heart,  and  I'll  never  ax  you 
for  rent."     Scene,  Cornwall.^ 

O'Meara  (Daniel  A.).  Brian  Boroihme;  or,  The  Maid 
of  Erin. 

(Performed  in  Ireland  about  1810).  James  Sheridan 
Knowles  adapted  the  story  and  incidents  for  his  play  of 
the  samo  name,  acted  at  Covent  Garden  Theatre  on  Thurs- 
day, April  20th,  1837. 


174  GUIDE  TO  BOOKS   ON  IRELAND. 

]\riLLiKEx  (Richard  Alfred).  Darby  in  Arms.  A 
Dramatic  Piece.     (About  1810). 

Milliken  was  born  at  Castlemartyr,  Co.  Cork,  on  Septem- 
ber 8,  1767,  and  died  on  December  16,  1815. 

Fitzgerald  (Preston).  The  Spaniard  and  Siorlamh. 
A  Traged3^  1810. 

Moore  (Tliomas).  M.P,;  or,  The  Blue  Stocking.  A 
Comic  Opera.     London.  1811. 

D.  J.  O'Dcnoghue  thinks  this  piece  has  an  Irish  character. 
Moore  was  born  in  Aungier  Street,  Dubhn,  on  May  28, 
1779,  and  died  at  Sloperton  Cottage,  near  Devizes,  on 
February  25,  1852.  His  "  Melodies  "  will  be  appreciated 
as  long  as  there  is  an  Irishman  left  in  the  world.  When 
this  opera  was  revived  at  the  Eoyal,  Dublin,  on  July  12, 
1828,  Mrs.  Haydn  Corri  appeared  in  it  as  Susanna. 

Lyon  (Mr.),  composed  by.  Sheelah's  Day;  or,  Erin 
Go  Braugh. 

Pastoral  Ballet,  in  which  a  variety  of  National  tunes  and 
dances  are  introduced.  Produced  at  Royal  Hibernian 
Theatre,  Dublin,  March  16th,  1811.  Mr.  Lyon  was  Ballet 
Master  to  the  theatre. 

Wilson  (Charles).  The  Irish  Valet.  Farce,  with 
Power  as  Larry  Holagan. 

Royal,  Dublin,  June,  1836.  Published,  London,  1811 
(anonymously). 

Le  Fa  Nu  (Mrs.  Alicia).  The  Sons  of  Erin:  or,  Modern 
Sentiment.  Comedy. 

Drury  Lane,  London,  April  11th,  1812. 

Code  (Henry  Brereton).  The  Russian  Sacrifice;  or, 
The  Burning  of  Moscow.  A  Drama  with  sono;s. 
Dublin.  1813. 

"As  Code  was  the  real  author  of  The  Sprig  of  Shillelagh 
and  Shamrock  so  Green  (not  Lysaght  ,  and  it  was  sung  in 
this  piece,"  D.  J,  O'Donoghue,  "  is  quite  certain  there  is 
an  Irish  character  in  it."     Code's  real  name  was  Cody. 


TRTSTT  PLAYS. 


175 


(F.)    What  News  from  Bantry  Bay? 
Not  printed.    (Before  1814). 

The  Ninth  Statute;  or,  The  Irishman  in  Bagdad. 
(From  the  Arabian  Nights).  Drama,  with  Gar- 
diner as  "  Kilrooney." 

Theatre  Eoyal,  Abbey  Street,  October,  1843.  First  played 
at  Drury  Lane,  November  29,  1814. 

Balfour  (Miss  Mary).  Kathleen  O'Neil.  A  grand 
National  Melodrama  in  3  Acts,  as  performed -at 
the  Belfast  Theatre  in  1814,  and  published  anony- 
mously in  that  year. 

Miss  Balfour  was  the  daughter  of  a  Derry  clergyman. 

Edgeworth  (Maria).  Love  and  Law.  A  Comic 
Drama  in  3  Acts. 

Cast  :  6  males,  4  females,  and  supers.  Published,  London, 
1817.  Scene  laid  in  Ireland.  Nearly  all  the  characters 
are  Irish.  The  play  concludes  with  the  words  :  "  A  fig  for 
the  bog  of  Ballynascraw.  Now  'tis  all  love  and  no  law.'* 
The  author  was  bqrn  in  Oxfordshire  on  Januarv  1st,  1767, 
and  died  on  May  22nd,  1849. 

  The  Rose,  Tliistle,  and  Shamrock.       A  Comic 

Drama  in  3  Acts. 

Cast :  5  males  and  5  females.  Scene  :  The  Village  of 
Bannow,  in  Ireland.  Published,  London,  1817.  Biddy 
r>oyle,  a  servant  at  the  inn,  is  a  very  amusing  character. 
She  is  so  hard  worked,  she  exclaims  :'''But  to'live  in  this 
here  house,  girl  or  boy,  one  had  need  have  the  lives  of 
nine  cats  and  the  legs  of  forty." 

Clarke  (Lady  Olivia).    The  Irish  Woman. 
A  Comedy,  in  5  Acts  (1819). 


176 


GUIDE  TO  BOOKS   ON  IRELAND. 


Glengall  (JLord).    The  Irish  Tutor;  or,  New  Lights. 

A  Farce,  in  1  Act.  Tells  in  most  amusing  way  how  Terrv 
O'Rourke  plays  the  role  of  Dr.  O 'Toole,  the  Irish  tutor, 
and  what  comes  of  liis  adventure.  A  capital  farce,  whicli 
takes  about  forty  minutes  in  tlie  playing.  Cast  :  4  males 
and  2  females.  ^  Adapted  from  the  French.  Cheltenham 
Theatre,  July  12th,  1822.    To  be  had  from  S.  French.  6d. 


Cox  (Walter).    The  Widow  Dempsey's  Funeral. 

A  small  three-act  comedy,  or  dialogue  in  prose.  (Hayes, 
Dublin,  1822).  The  piece  is  satirical  in  turn,  and  gives 
a  humorous  picture  of  lower  middle -class  life  in  the  last 
century.  The  language  used  by  the  characters  "is  as  full 
as  a  nut."  "  Watty  "  Cox  was  a  notable  writer  of  his  day. 
lie  estabhshed  The  Union  Star  in  1797,  and  in  1807  The 
Irish  Magazine  and  Monthly  Asylum  of  Neglected 
Biography.  In  his  writings  he  was  "  agin  the  Govern- 
ment," until  he  was  pensioned  off  for  his  silence.  He 
was  born  in  County  Meath  in  1770,  and  died  in  Dublin  in 
1837.  His  j)lay  was  written  and  published  in  1822,  but 
never  acted  until  by  the  Theatre  of  Ireland  Co.  at  Hard- 
wicke  Street  Hall  on  December  18th,  1911.  A  copy  of  the 
play,  with  its  quaint  woodcuts,  is  in  the  National  Library, 
Dublin.     Cast  :  7  males  and  6  females.      Scene  :  Dublin. 

RoDWELL  (G.  H.).    More  Blunders  than  One. 

A  farce  in  one  act.  Early  nineteenth  century  costumes. 
Cast  :  4  males  and  3  females;  3  interior  scenes.  First  per- 
formed at  Adelphi,  London,  on  December  13th,  1824,  with 
Tyrone  Power  as  Larry  Hoolagan. 

 Toddy  the  Tiler. 

A  farce  in  one  act.  The  fun  is  created  by  an  Irish  tiler 
dressing  up  in  gentleman's  clothes  and  being  mistaken  for 
the  gentleman.  Cast  :  12  males  and  6  females.  Four 
scenes — 2  interior  and  2  exterior.  Taken  from  the  French. 
Covent  Garden,  Loudon,  February  8th,  1830. 

AFcNeil  (James).     The  Agent  and  the  Al)sentoe.  A 
Play.     Written  about  1824. 

McNeil  was  a  Dublin  man. 


IRISH  PLAYS. 


Plays  by  Samuel  Lover.  (1797-1868). 
 .  II  Paddy  Whack  in  Italia. 

An  operetta  in  one  act.  (Duncombe's  British  Theatre, 
1825).    A  burlesque  on  Italian  operatic  methods. 

—      The  White  Horse  of  the  Peppers. 

Comic  drama,  in  2  acts.  Colonel  Pepper  fools  a  Dutch- 
man into  relinquishing  the  estate  he  has  come  over  to 
claim  that  always  belonged  to  the  Peppers.  The  way  he 
does  so  is  amusingly  set  forth  in  the  play.  Time,  1690. 
Place,  Ireland.  Characters  :  11  males  and  2  females. 
Seven  scenes.  Tyrone  Power  originally  filled  the  role  of 
Colonel  Pepper  at  Haymarket  in  1835. 

  Rory  O'More. 

A  drama,  in  3  acts,  founded  on  the  novel  of  that  name. 
Old-fashioned  costumes.  Time  of  performance,  three 
hours.  There  are  quite  a  large  number  of  scenes.  The 
drama  is  both  exciting  and  interesting,  with  the  title  role 
to  give  birth  to  laughter.  The  cast  is  a  long  one.  First 
performed  at  Adelphi  Theatre,  London,  October,  1837,  with 
Power  in  title  role. 

  Barney  the  Baron. 

A  farce,  in  1  act.  An  itinerant  Irish  tinker  wins  a  castle 
in  a  lottery,  and  comes  to  take  possession.  A  capital 
farce  of  its  kind.  Characters  :  7  males  and  2  females. 
Barry  Williams  was  Barney  0 'Toole  in  original  cast. 

  The  Happy  Man. 

Extravaganza  in  one  act.  A  delightfully  droll  piece,  in 
which  a  search  is  being  made  for  the  shirt  of  a 
happy  man,  and  the  seekers  come  across  a  jolly 
Irishman,  who  seems  as  happy  as  the  day  is  long. 
They  make  much  of  him,  and  try  to  coax  him  to  part 
with  his  shirt.  He  refuses.  So  they  try  to  obtain  it  by 
force,  only  to  discover  that  all  he  possesses  is  a  "  Tommy." 
The  late  Colonel  John  Hay  and  Sir  ^Yalter  Scott  used  the 
same  idea  in  their  ballads — The  Enchanted  Shirt  and  The 
Search  after  Happiness,  respectively.  Eastern  costume. 
Cast  :  7  males  and  2  females.  Power  was  Paddy  Murphy 
in  original  cast. 

N 


178 


GUIDE  TO  BOOKS   ON  IRELAND. 


 MacCarthy  More;  or,  Possession  Xine  Points  of 

the  Law. 

A  comic  drama,  in  2  acts.  Period,  1700.  Cast  :  6  males 
and  8  females.  Six  scenes — 3  interior  and  3  exterior.  First 
played  at  Lyceum,  London,  April  1,  1861. 

Henri  Quatre ;  or,  Paris  in  the  Olden  Time.  Operatic 
Drama,  with  Gardiner  as  "  O'Dormell." 

Theatre  Royal,  Abbey  Street,  October,  1843.  Originally 
played  at  Drury  Lane,  June  21,  1825. 

Peake  (R.  Brinsley).     One  Hundred  Pound  Note. 

Farce,  in  2  acts,  in  which  Tyrone  Power  appeared  as 
O'Shaughnessy,  in  1826,  at  Royal,  Dublin. 

Planche  (J.  R.).    Returned  Killed." 

A  farce  in  2  acts,  in  which  Tyrone  Power  played  the 
Irish  role  of  Sergeant  Milligan  in  1826.  Cast  :  8  males 
and  2  females.     First  played,  October  31,  1826. 

 The  Irish  Post.     A  Comic  Drama  in  2  Acts. 

A  good  piece  of  its  kind,  lasting  about  an  hour  and  a-half. 
Cast  :  9  males  and  3  females.  Two  interior  scenes.  First 
performed  at  Theatre  Royal,  Haymarket,  February  28th, 
1846.  An  amusing  play  of  complications,  arising  out  of  a 
letter  enclosed  in  a  wrong  envelope  by  Terence  0 'Grady, 
a  blundering,  thoughtless  Irishman,  with  result  that  an 
innocent  lady's  name  is  very  nearly  compromised  over  it. 
Luckily  the  letter,  after  all  the  hugger-mugger,  is  found 
in  0 'Grady's  pocket — it  never  having  been  posted  at  all. 
Mr.  Hudson  pla^^ed  "  0 'Grady  "  in  original  cast. 

Croker  (Thomas  Crofton).        Daniel  O'Rourke;  or, 
Rhymes  of  a  Pantomime.    London.  1828. 

Morton  (Thomas).    The  Invincibles. 

Musical  Farce,  in  2  Acts,  with  Tyrone  po\ver  as  Corporal 
0 'Slash  and  Madame  Vestus  as  Victoire.  Royal,  Dublin, 
June  22nd,  1829.  This  and  The  Irish  Tutor  were  the  pieces 
chosen  by  Tyrone  Power  on  the  opening  night  of  his  first 
engagement  in  Dublin.  First  plaved  at  Covent  Garden, 
February  28,  1828. 


IRISH  PLAYS. 


179 


No.  18,  College  Green,  Dublin. 

Interlude.  Cast :  2  males  and  1  female.  Played  at  the 
lloj'al,  Dublin,  1829.  (Localised  version  of  an  English 
farce). 

Cooke  (N.  T.).      Tliierna-na-O-ge  (Tir-na  nOg) ;  or, 
The  Prince  of  the  Lakes. 

Melodramatic  fairy  tale.  Founded  on  traditions  of  South 
of  Ireland.    Drury  Lane,  London,  April  20th,  1829. 

PococK  (Isaac).     Oninibusj  or,  '*  A  Convenient  Dis- 
tance." 

A  farce,  in  one  act.  An  amusing  piece,  with  a  good  Irish 
servant  part.  Drawingroom  scene.  Time  of  performance, 
40  minutes.  Cast  :  5  males  and  4  females.  First  pro- 
duced at  the  Theatre  Royal,  Covent  Garden,  December  6th, 
1830,  with  Tyrone  Power  as  Pat  Rooney,  a  Handy- 
Andyish  servant.    (Published  by  J.  Dicks). 

 _  The  Robber's  Wife.    Romantic  Domestic  Drama 

in  2  Acts,  in  which  Barney  Williams  took  the  role 
of  Larrj^  O'Grig  "  at  the  Ro3'al,  Dublin,  Novem- 
ber, 1857. 

Originally  produced  January  7th,  1830. 

Bayly  (Thomas  Haynes).     Perfection;  or,  The  Lady 
from  Munster. 

A  comedietta,  in  one  act.  A  bright  Httle  trifle,  in  which 
the  heroine  confesses  to  the  man  of  her  choice  that  she 
possesses  a  cork  leg.  Luckily  for  him  she  was  a  native 
of  the  Southern  Capital!  Cast:  3  males  and  2  females. 
Drury  Lane,  London,  March  25th,  1830. 

  One  Hour ;  or.  The  Carnival  Ball. 

An  original  bmiette.  First  performed,  January  11,  183G, 
with  Brougham  as  O'Leary. 

Pepper   (George).      Kathleen    O'Neill;  Ireland  Re- 
deemed ;  or,  The  Devoted  Princess.     A  Play. 
Produced  in  New  York  in  1830. 


180 


GUIDE  TO  BOOKS   ON  IRELAND. 


Macready  (William).     Irishman  in  London. 

Farce,  in  2  acts.  An  amusing  little  piece  lasting  an  hour. 
Besides  the  principal  characters  there  is  a  gruff  old  man, 
a  grinning  negress,  and  a  blundering  Irish  lad.  Costumes 
of  120  years  ago.  Two  scenes — a  street  and  a  room — and 
6  male  and  3  female  characters.  Tyrone  Power  filled  the 
role  of  Murdock  Delany  in  this  farce  at  the  Royal,  Dublin, 
in  June,  1830.  First  played  at  Co  vent  Garden  in  1792. 
W.  Macready  was  the  father  of  the  great  tragedian,  William 
Charles  Macready. 

The  Collegians. 

Drama,  founded  on  Gerald  Griffin's  story  of  the  same 
name.  Produced  at  Chapman's  City  Theatre,  in  Milton 
Street,  Cripplegate,  in  1831. 

WiLKs  (T.  E.).  Eily  O'Connor,  or  The  Foster  Brother. 
A  Drama  in  2  A€ts. 

Period,  1810.  Founded  on  Gerald  Griffin's  novel,  The 
Collegians.  Cast :  8  males  and  3  females.  Originally 
played  at  City  Theatre,  London,  July  23,  1831. 

Groves  (Rev.  Edward).    The  Warden  of  Galway. 

Tragedy.  Period,  1493.  First  production  at  Theatre 
Royal,  Dublin,  Wednesday,  November  22nd,  1831.  Mr. 
Calcraft  played  Walter  Lynch  (the  Warden  of  Galway). 
Cast  :  13  males  and  3  females. 

 The  O'Donoghue  of  the  Lakes.    A  Melodrama. 

  The  Donagh.     A  Melodrama. 

McNevin  (Thomas).  Gerald.  A  National  Dramatic 
Poem  in  3  Acts,  founded  on  the  invasion  of  Ire- 
land by  Henry  II.    Dublin.  1831. 

Plays  by  J.  B.  Buckstone  (1802-1879). 

—  Presumptive  Evidence;  or,  Murder  Will  Out. 

A  domestic  drama,  in  2  acts,  with  Gardiner  as  Lewy  Madi- 
gan.  Theatre  Royal,  Abbey  Street,  March,  1844.  Cast  : 
15  males  and  5  females.  Originally  played  at  the  Adelphi, 
London,  February  11,  1828.  Scene  :  On  the  Munster 
Coast. 


IRISH  PLAYS. 


181 


•         The  Boyne  Water;  or,  The  Rdief  of  Londonderry. 

A  romantic  Irish  drama,  in  3  acts.  Cast  :  13  males  and  2 
females.  First  produced  at  Adelphi,  November  21st,  1831. 
The  play  is  written  from  the  Williamite  side,  and  tells 
how  Oonagh  Dillon  avenges  her  husband's  death  by  slaying 
his  slayer  at  the  Battle  of  the  Boyne.  In  the  original  cast 
were  Tyrone  Power  as  Dermot  Dillon,  brother-in-law  to 
Oonagh,  and  Madame  Celeste  as  Oonagh.  It  is  a  strong 
play  of  its  kind. 

  The  Irish  Lion. 

A  farce,  in  one  act.  This  is  a  very  laughable  farce,  in 
which  a  travelling  tailor,  Tom  Moore  by  name,  is  mistaken 
for  the  poet,  and  is  invited  to  meet  a  party  of  the  latter 's 
admirers.  The  scene  that  ensues  can  easily  be  imagined. 
Cast  :  8  males  and  3  females.  First  produced  at  Theatre 
Royal,  Hay  market,  on  June  13th,  1838,  with  Tyrone 
Power  as  the  tailor.  When  Tom  is  asked,  "if  he  would 
prefer  claret,  champagne,  port  or  sherry  to  drink,"  he  re- 
plies— "  Wid  your  good  will  and  pleasure  I  prefer  the 
fluid  that  contains  the  soul  of  all  them  drinks— which  has 
the  dacency  of  port,  with  the  tone  of  the  sherry,  the  cool- 
ing quality  of  the  claret,  combined  with  the  inspiration 
of  the  champagne,  but  divil  a  morsel  of  its  headache  at 
all,  at  all — and  that's  a  jolly  good  jug  of  whiskey  punch!" 

  The  Green  Bushes. 

Drama,  in  3  acts.  A  strong,  stirring  play,  full  of  exciting 
and  dramatic  incidents,  interspersed  with  a  good  deal  of 
homely,  honest  fun,  and  many  pathetic  episodes  that  never 
fail  to  reach  the  heart  of  popular  audiences.  Though 
written  many  years  ago,  it  still  holds  the  regular  stage. 
The  scene  is  laid  in  Ireland  and  America,  during  the 
middle  of  the  eighteenth  century.  Buckstone  was'  born 
at  Hoxton,  near  London,  September,  1802,  and  died  on 
October  31st,  1879.  First  plaved  at  Adelphi,  London, 
January  27th,  1845. 

Mid-ninetecnfh  Century  (1832  70). 

Haines  (J.  T.).    Eily  O'Connor.    Play  in  2  Acts. 

City  Theatre,  London,  Octol)or  29tb,  1832. 


182  GUIDE  TO  BOOKS   ON  IRELAND. 

DiBDiN  (T.).  Suil  Dhuv,  the  Coiner.  A  melodramatic 
romance,  in  2  Acts. 

Cast  :  12  males  and  6  females.  First  performed  at  Covent 
Garden  in  1833.  It  is  a  story  of  plot  and  counter  plot, 
and  of  a  woman's  struggle  between  love  and  duty.  The 
courting  of  Riney  O'Lone  and  Kitty  O'Brien  has  many  a 
sweet  turn  of  phrase  in  it.  There  are  quite  a  number  of 
songs  in  the  piece,  including,  "  The  Jug  of  Punch."  The 
play  ends  in  the  escape  of  the  coiner,  Suil  Dhuv,  but 
capture  of  the  gang. 

Hall  (Mrs.  S.  C).  The  Groves  of  Blarney.  A  Drama 
in  3  Acts. 

Cast  :  11  males  and  5  females.  Scene  :  The  Village  of 
Blarney.  Period  :  1720.  Time  of  representation  :  One 
hour  and  three-quarters.  First  performed  at  Adelphi 
Theatre,  April  16,  1838.  An  English  widow  is  loved  by 
two  Irishm.en,  and  she  favours  Connor  0 'Gorman.  His 
unsuccessful  rival — Ulick  0 'Sullivan — is  determined  that 
she  will  be  his,  and  steals  her  child  and  pretends  that 
0 'Gorman  is  the  thief.  All  this  leads  to  exciting  events 
until  ultimately  0 'Gorman  rescues  the  child  and  restores 
him  to  his  mother.  The  two  men  forgive  each  other,  and 
happiness  seems  in  store  for  0 'Gorman  and  the  widow  when 
last  we  see  them.  The  final  scene  is  full  of  thrills.  Tyrone 
Power  was  the  original  Connor  0 'Gorman — a  fine  part,  full 
of  effective  dialogue. 

The  Irishman's  Home.  A  domestic  drama,  with  the 
chicanery  of  middlemen  and  laxity  of  absentee 
landlords  for  its  theme. 

Produced  at  the  Westminster  Theatre,  in  Tothill  Street, 
London,  in  May,  1833.  When  the  piece  was  revived  at 
Theatre  Eoyal,  Abbey  Street,  in  November,  1843,  Gardiner 
filled  the  role  of  Danny  Scallion,  an  Emeralder. 

Plays  by  William  Bayle  Bernard. 

  The  Nervous  Man    and  the  Man  of  Nerve. 

Comedy. 


Royal,  Dublin,  June,  1836,  with  Power  as  Mr.  M' Shane. 
First  played  at  Drury  Lane,  London,  January  26th,  1833. 


IRISH  PLAYS. 


183 


 His  Last  Legs.     A  Farce  in  2  Acts.  (1839). 

A  thoroughly  amusing  piece,  describing  how  an  Irishman 
on  his  last  legs  manages  to  introduce  himself  into  a  family 
where  things^are  at  sixes  and  sevens,  and,  setting  them 
right,  falls  on  his  feet  again.  There  are  5  male  and  3 
female  characters,  and  one  exterior  and  one  interior  scene. 
The  farce  plays  about  an  hour  and  a-half.  Strange  that 
two  actors  hke  G.  V.  Brooke  and  Tyrone  Power,  who 
were  each  excellent  as  "  Felix  O'Callaghan  "  in  this  piece, 
should  have  both  been  drowned,  and  it  was  the  last  play 
Power  appeared  in  in  Dublin  (June  20th,  1840).  The  last 
that  was  seen  of  Brooke  was  working  at  the  pumps  on  the 
ill-fated  ship,  "  London,"  and  on  March  12th,  1841,  Power 
left  New  York  on  the  "President,'  and  was  never  heard 
of  since. 

  The  Irish  Attorney ;  or,  Galway  Practice  in  1770. 

A  Farce  in  2  Acts. 

A  solicitor  take  a  countryman  into  partnership,  and  during 
the  former's  temporary  absence  the  latter  takes  the  dis- 
pensing of  law  into  his  own  hands,  with  droll  results. 
Costume,  1770.  Cast  :  8  males  and  2  females.  First 
played  at  Theatre  Royal,  Havmarket,  May  6th,  1840,  with 
Tyrone  Power  as  Pierce  O'Hara,  the  horse-racing,  punch- 
drinking,  irrepressible  Irishman,  whose  system  as  attorney 
was  "  that  there's  no  better  way  to  mind  our  own  interest 
than  now  and  then  to  remember  other  people's  " — a  wildly 
improbable  role.    It  is  a  good  farce. 

Egan  (Pierce).    Life  in  Dublin;  or,  Tom,  Jerry  and 
Logic  on  their  Travels.    National  drama. 

First  played  in  Dublin  on  Friday,  February  21st,  1834,  at 
Royal. 

St.  Patrick  and  the  Golden  Shamrock;  or,  Harlequin 
and  the  Sleeping  Beauty. 

Pantomime,  Royal,  DubHn,  1834.    Clown— Ussher. 

Gore  (Mrs.  Charles).     King  O'Niel;  or,  The  Irish 
Brigade.    A  Comedy  in  2  Acts. 

Cast  :  9  males  and  3  females.  First  performed  at  Covent 
Garden  on  December  9th,  1835,  with  Tyrone  Power  in  the 
title  role.      A  captain  of  the  Irish  Brigade  in  his  cups 


184 


GUIDE  TO  BOOKS   ON  IRELAND. 


thinks  himself  King,  and  the  real  King — Louis  XV. — 
humours  him  in  his  pretence  for  a  time,  with  the  result 
that  many  undesirable  events  are  thwarted,  and  all  comes 
right  in  the  end.  The  construction  of  the  piece  is  good, 
and  the  situations  capable  of  effective  acting. 

Kertland  (William).    Shawn  Long  and  the  Fairies. 
An  operatic  legendary  romance. 

Produced  at  the  Royal,  Dublin,  January  lOth,  1835. 

Plays  by  Tyrone  Poaver. 

  Etiquette ;  or,  A  Wife  for  a  Blunder. 

Comedy  in  3  Acts,  with  the  Author  as  Captain  Dennis 
O'More,  R.I.H.    Royal,  Dublin,  June,  1836. 

  How  to  Pay  the  Rent.    A  Farce  in  1  Act. 

Cast  :  6  males  and  3  females.  First  performed  at  Hay- 
market,  April  2nd,  1840.  Morgan  Rattler,  a  part  played 
originally  by  the  author,  cures  an  old  skinflint  of  a  land- 
lord of  rent-grabbing,  and  makes  the  old  fellow  bitterly 
repent  letting  the  place  to  him,  and  anxious  to  get  rid  of 
him  and  his  companions  at  all  costs.  The  vmdercurrent 
of  the  farce  is  not  very  sweet,  but  Rattler  is  a  good  part. 

 OTlamiigan  and  the  Fairies.    Farce.  (Revised 

version  of  Shaun  Long  and  the  Fairies). 

Power  was  born  in  the  Co.  Waterford,  on  November  2, 
1797,  and  was  lost  at  sea  in  1841.  He  was  the  original 
OTlannigan  in  his  own  farce.  When  it  was  revived  at 
the  Adelphi,  April  26,  1857,  Hudson  took  the  title  role. 

  Born  to  Good  Luck ;  or.  The  Irishman's  Fortune. 

A  Farce  in  2  Acts. 

An  Irishman's  adventure  amongst  Italians.  Eighteenth 
century  costumes.  Cast  :  8  males  and  3  females.  First 
produced  at  Covent  Garden,  March  17,  1832. 

  Paddy  Carey;  or,  The  Boy  of  Clogheen.    A  Farce 

in  1  Act. 

Cast :  9  males  and  3  females.  Three  scenes.  Military 
and  peasant  costumes.  First  plaved  at  Covent  Garden, 
May  29,  1833. 


IRISH  PLAYS. 


186 


  St.  Patrick's  Eve  :  or,  The  Order  of  the  Da}^  A 

Drama  in  3  Acts. 

A  strong  play,  in  which  the  author  originally  appeared. 
Big  cast  and  many  scenes;  plays  about  two  hours.  First 
produced  at  Theatre  Royal,  Haymarket,  September  18, 
1837. 

Collier  (William).    Kate  Kearney;  or,  The  Maid  of 
Killamey.    Operetta  in  2  Acts. 

Played  in  the  Royal,  Dublin,  June,  1836.  In  Lacy's  Col- 
lection of  Acting  Plays. 

Grattan  (H.  p.).     The  White  Boys.     A  Romantic 
Drama  in  3  Acts. 

First  performed  under  the  title  of  The  Rebel  Chief,  at 
Lyceum,  London,  in  1836.  Cast  :  14  males  and  2  females. 
Period,  1798.  Edward  O'Brien,  who  joined  the  King's 
Troops,  deserts  and  throws  in  his  lot  with  the  "  White 
Boys  "  for  the  sake  of  the  girl  he  loves.  O'Brien  is  cap- 
tured and  condemned  to  die — a  reprieve  coming  in  at  the 
last  moment.  The  episodes  leading  up  to  the  final  scene 
are  very  well  done.  The  "  comic  relief  "  is  childish.  The 
play  would  revive  well  at  a  popular  theatre. 

 The  Fairy  Circle ;  or,  Con  O'Carrolan's  Dream. 

A  legendary  Irish  Domestic  Drama  in  2  Acts. 
Period— The  Irish  Rebellion  of  *98. 

It  tells  how  the  guardian  of  a  young  rebel  tries  to  do  him 
out  of  his  property,  and  how  he  is  foiled  in  the  end  by 
Con,  the  foster-brother  of  the  rebel,  seeing  in  a  dream 
while  he  slept  in  "  the  fairy  circle,"  the  villainy  of  the 
said  guardian.  It  is  interesting  to  note  that  when  the 
play  was  first  performed  at  the  Prince 'of  Wales's  Theatre, 
Liverpool,  the  late  Henry  Irving  filled  the  role  of  "  Philip 
Blake,"  the  black-hearted  guardian.  Cast  :  8  males  and  3 
females.  A  rehashed  version  of  this  play,  prefaced  by  a 
new  first  act,  is  played  under  the  title  of  Eollicliing  Rorij. 
The  Fairy  Ciicle  first  produced  at  the  Prince  of  Wales' 
Theatre,  Liverpool,  and  afterwards  at  Adelphi,  London, 
July  3,  1857. 

 The  White  Boys  of  Kerry.  Drama. 

Bradford  Theatre  Royal,  October  14th,  1872. 

 The  Omadhaun.    Drama  in  3  Acts. 

Queen's,  London,  November  24th,  1877. 


18G 


GUIDE  TO  BOOKS   ON  IRELAND. 


Pilgrim  (James).    Paddy  Miles — The  Limerick  Boy. 
A  Farce  in  1  Act. 

A  capital  farce,  with  a  splendid  part  for  the  comedian. 
Characters  :  5  males  and  2  females.  Time  of  performance, 
three-quarters  of  an  hour.  Sadler's  "Wells,  London,  April 
22nd,  1836.  Paddy  leaves  Limerick,  where  he  has  always 
been  getting  into  trouble.  He  changes  his  name  and  gets 
a  situation,  but  is  soon  at  his  tricks  again,  and  is  quickly 
found  out. 

  Robert  Emmet.  P1^3^ 

Peter   Williams.     Farce,    with   Tyrone   Power  as 
Phelim  O'Scudd." 

Eoyal,  Dublin,  June,  1886. 

The  E-eview;  or,  The  Wags  of  Windsor.   Comic  piece, 
with  Tyrone  Power  as    Looney  M^Twolter.*' 
Royal,  Dublin,  June,  1836. 

Coyne  (Joseph  Sterling").      The  Queer  Subjects.  A 
Farce  in  1  Act. 

A  doctor  w^ants  subjects  to  experiment  on,  and  asks  his 
maid  to  procure  them  for  him;  offering  a  reward  of  ^€10. 
She  happens  to  have  two  strings  to  her  bow — an  Irishman 
and  a  Yorkshire  lad — and  she  gets  them  to  play  the  part 
of  "  subjects."  The  episodes  which  follow  on  their  con- 
senting to  fill  the  roles  of  "  dead  men  "  are  very  amusing, 
and  suggest  to  mind  the  two  bedridden  paupers  in  The 
WorhJiouse  Ward.  Cast  :  6  males  and  1  female.  Adelphi, 
London,  November,  1836. 

  The  Tipperary  Legacy.  Comedy.  1847.  Written 

in  conjunction  with  Henry  Hamilton. 

Born  1803,  died  1868.  Three  of  his  farces  were  printed  in 
Dublin,  1835-36.     He  wrote  nearly  60  dramatic  pieces. 

]\roNCRiEFP  (William  T.).     The  Mayor  of  Rochester. 
A  Farce  in  1  Act. 

Cast :  4  males  and  2  females.  (Published  by  J.  Dicks.) 
The  scene  is  laid  in  an  inn  at  Kochester  during  the  time 
of  the  Cavaliers  and  Roundheads,  and  a  proclamation  is 


IRISH  PLAYS. 


187 


out  for  a  certain  Countess  who  is  supposed  to  have  made 
her  escape  in  male  attire  with  her  page.  The  Mayor  comes 
across  them,  and  mistakes  the  man — Darby  O'Driscoll — 
for  the  Countess,  and  amusing  complications  arise  until  a 
body  of  Cavaliers  arrive  and  protect  the  "  mock  "  and  real 
Countess.  First  performed  at  the  Adelphi  Theatre.  Lon- 
don, December  3rd,  1837,  with  Tvrone  Power  as  "  Darby 
O'DriscolL" 

Knowles   (James  Sheridan).    Brian   Boroihme.  A 
Drama  in  3  Acts. 

There  is  a  big  cast  and  a  large  number  of  scenes,  that 
make  the  piece  unsuited  to  any  but  a  lar^e  stas:e.  Erina, 
the  daughter  of  Brian,  loves  a  chief — The  O'Donohue — 
and  is  loved,  nay,  lusted  for,  by  the  Danish  chief. 
O'Donohue  is  captured  by  the  Danes,  and  Erina  seeks 
him  disguised  as  a  harper.  Ultimately  she  and  her  lover 
are  spared  to  each  other  by  the  aid  of  a  veteran  Dane — 
Voltimar.  The  play  is  written  alternately  in  blank  verse 
and  prose.  The  drama  was  first  performed  by  Edmund 
Kean  as  Brian,  and  Knowles  as  Voltimar,  at  Covent 
Garden  Theatre,  1837.  The  drama  was  originally  written 
by  D.  A.  O'Meara,  and  played  about  1810.  Knowles  was 
born  in  Cork,  May  12th,  1784,  and  died  1862. 

Hyde  (       ).    The  Irish  Absentee.  Farce. 

Originally  played  at  the  Marylebone  in  February,  1838. 
W.  J.  Lawrence,  the  well-known  historian  of  the  Irish 
stage,  says  that  "  one  of  the  most  natural  and  best  di'awn 
types  of  the  lower  class  Irishman  is  the  Con  G'Callaghan 
in  this  piece." 

WiLKs  (Tliomas  Egerton).     The  Wren  Boys;  or.  The 
Moment  of  Peril.    A  Drama  in  2  Acts.*^ 

Period— Act  1,  Dublin,  1802;  Act  2,  ]\Iunster,  1807.  A 
play  full  of  excitement  and  adventure,  with  smugglers 
and  wren  boys  mixed  up  with  them.  First  performed  at 
the  City  of  London  Theatre  on  October  8th,  1838.  Cast  : 
9  males  and  4  females.  The  play  is  old-fashioned,  but 
interesting. 

Webster.     Confounded   Foreigners.     Comic  Inter- 
lude, with  Power  as    Lieutenant  O'Phelan." 
Uoyal,  Dublin,  July,  1838. 


188 


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Macarthy  (Eugene).  Charles  O'Malley.  A  Drama 
in  3  Acts. 

Cast  :  24  males  and  4  females.  Founded  on  Lever's  novel. 
First  performed  at  the  Adelplii  in  1838,  with  Tyrone  Power 
as  "Micky  Free" — the  part  is  an  amusing  one,  with  plenty 
of  drollery  in  it.  The  play  is  full  of  good  sayings  and 
songs. 

Eaymond  (R.  J.).  The  Emigrant's  Daughter.  Drama 
in  1  Act. 

English  Opera  House,  August  8th,  1838. 

Pat  in  Japan;  or,  The  Abandoned  Irishman.  Comic 
piece,  with  Power  as  "  Mike  Milligan." 
Royal,  Dublin,  June,  1840. 

Howard  (Alfred).  O'Donoghue  of  the  Lakes,  and  the 
Leprachaune  or  the  Good  Little  People. 

National  Pantomime.  Royal,  Dublin,  1840,  and  Queen's, 
Dublin,  December,  1857.  Howard  was  better  known  as 
Paddy  Kelly,  author  and  conductor  of  an  amusing  paper  of 
weekly  gossip — The  Budget. 

Lancaster  (E.  R.).  The  Wager;  or,  The  School  Girl, 
the  Young  Wife  and  the  Heroine.  A  Domestic 
Drama  in  3  Acts. 

Cast :  10  males  and  3  females.  First  performed  at  the 
Theatre  Royal,  Sadler's  Wells,  July  27th,  1840.  Period— 
that  of  the  Pretender.  Phelim  O'Shanaughesy,  a  gambler 
of  broken  fortune,  formerly  holding  a  commission  in  the 
army,  is  one  of  the  principal  characters.  Time  of  repre- 
sentation, two  hours.    (Published  b}^  J.  Dicks.) 

Kenny  (James).  The  Irish  Ambassador.  A  Comedy 
in  2  Acts. 

Cast  :  8  males  and  3  females.  First  performed  at  Hay- 
market,  London,  August  1st,  1840,  with  Tyrone  Power  as 
"  Sir  Patrick  O'Phenipo,  the  Ambassador  " — a  sort  of  Hya- 
cinth Halvey,  who,  the  more  he  blunders  the  more  he  is 
thought  about,  until  at  last  he  puts  everything  right  without 
knowing  it,  and  wins  the  lady  of  his  choice  at  the  same 
time.    An  amusing  piece  on  the  whole. 


IRISH  PLAYS. 


189 


Plays  by  John  Brougham. 

  Life  in  the  Clouds.   Extravaganza  in  1  Act. 

In  which  Daniel  O'Connell  was  burlesqued  under  the  name 
of  "  The  Irish  Constellation  O'Rion."  First  played  at 
Lyceum,  London,  1840.     (His  first  piece). 

 Temptation.    A  Drama  in  2  Acts. 

Cast  :  6  males  and  3  females.     See     The  Irish  Emigrant." 

  The  Irish  Emigrant.    Comic  Drama  in  2  Acts. 

The  story  and  its  moral  may  be  summed  up  in  a  few 
w^ords  : — Honesty  is  the  best  policy,  and  that  the  want 
of  means  of  being  industrious  is  the  cause  of  much  social 
mischief  of  misery  and  poverty.  This  piece  deals  prin- 
cipally with  a  son  who  has  been  cheated  out  of  his  inheri- 
tance. Cast  :  6  males  and  3  females.  Four  scenes — 3 
interior  and  1  exterior.  John  Drew  filled  the  role  of 
Patrick  O'Bryan"  in  the  Royal,  Dublin,  November,  1860. 
Brougham  was  born  in  Dublin,  May  9th,  1814,  and  died 
in  New  York,  June  7,  1880.  (He  is  said  to  have  been  the 
original  of  Harry  Lorrequer  in  Charles  Lever's  novel).  First 
performed  at  Boston  Theatre,  New  York,  1856.  Brougham 
was  the  original  O'Bryan,  an  Irish  emigrant. 

  Home  Rule.  Drama. 

This  was  the  dramatist's  last  play — he  wrote  over  seventy- 
five  dramatic  pieces. 

  Playing  with  Fire.   Comedy  in  5  Acts,  in  which 

the  author  impersonated  an  Irish  character. 
First  played  at  Princess's,  London,  September  28,  1861. 

  A  Recollection  of  O'Flanagan  and  the  Fairies. 

Extravaganza  in  one  act.  Broadway  Theatre,  New  York. 
Published.    London  :  T.  H.  Lacy.  6d. 

  The  Duke's  Motto. 

(Altered  from  Le  Bossu  of  Paul  Feval.)  In  which  Charles 
Albert  Fechter  appeared  as  Henri  de  Lagardere,  and  John 
Brougham  as  Carrickfergus,  an  Irish  soldier  of  fortune, 
when  the  piece  was  first  produced  at  the  Lyceum,  London, 
on  January  10th,  1863. 


190 


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Peake    (R.  B.).    The  Bequeathed  Heart.    A  Play  in 
2  Acts. 

Cast  :  11  males  and  8  females.  (Published  by  J.  Dicks.) 
The  scene  of  Act  1  is  laid  in  ISaples,  and  of  Act  2  in 
Ireland,  at  the  beginning  of  the  nineteenth  century,  and 
the  chief  character  is  that  of  Fitzgerald  0 'Carroll,  a  young 
Irish  gentleman  on  his  travels.  First  performed  at  the 
Ptoyal  Victoria  Theatre,  London,  November  1st,  1841.  Time 
of  performance,  one  hour  and  forty  minutes. 

Darby  O'Rourke  and  the  Eagle ;  or,  Harlequin  and  the 
Man  in  the  Moon.  Pantomime. 

Royal,  Dublin,  1841.  The  Boleno  Family  in  the  harle- 
quinade. 

Carleton  (William).     Irish  Manufacture;  or,  Bob 
M'Gawley's  Project.     Play.  (1794-1809). 

Produced  on  Mr.  Calcraft's  benefit  at  Theatre  Royal,  Dub- 
lin, on  Thursda}',  March  25th,  1841,  and  repeated  on  the 
two  following  nights.  D.  J.  O'Donoghue,  in  his  "  Life  of 
Carleton,"  writes  : — "  The  piece  was  so  heartrending  a 
representation  of  Dublin  poverty  that  some  scenes  were 
voted  overdone,  and  the  public  resenting  the  harrowing 
details  of  the  plot,  it  was  speedily  withdrawn."  Carleton 
was  to  have  received  £100  if  the  play  proved  successful, 
but  he  got  nothing.  The  play  was  never  printed.  Part 
of  the  prologue  ran  as  follows  : — 

"  Well  satisfied  are  we  to  play  our  parts 
If  you  but  bring  home  manufactured  hearts 
Alive  to  love  and  innocent  delight — 
The  only  goods  in  which  we  deal  to-night — 
They're  of  right  Irish  make  and  dyed  in  grain 
Fresh  from  the  loom  of  Carleton 's  busy  brain. 
That  wondrous  workshop  where  so  oft  was  wove 
The  magic  web  of  Irish  life  and  love.'* 

The  cast  reads  as  follows  : — Bob  M'Gawley  (Mr.  Rees), 
Larry  Malone  (Mr.  Barry),  Dick  Dalton  (Mr.  Hudson), 
James  M'Gawley  (Mr.  Barrett),  Mr.  Langtree  (Mr. 
Calcraft),  Ellen  "  Mansfield  (Miss  Maywood),  and  Kate 
Cassidy  (Miss  Chamber). 


O'Brien  ( — ).   Lord  Edward  Fitzgerald.   A  Tragedy. 
Dublin.   1842.    (Suppressed  by  the  Government). 


IRISH  PLAYS.  191 

Brian  Boroihme.  Burletta,  with  Dibdin  Pitt  in  the 
title  role. 

Theatre  Koyal,  Abbey  Street,  October,  1843. 

The  Devil's  in  the  Eoom.    Farcetta,  with  Gardiner  as 
Thady  O'Shaughne&sy. 
Theatre  Royal,  Abbey  Street,  October,  1843. 

The  Lost  Ship;  or,  The  American  Steamer.  Drama, 
with  Gardiner  as  Brigadier  Major  Dennis 
Lymerdo." 

Theatre  Royal,  Abbey  Street,  October,  1843. 

The  King's  Monkey;  or,  Pat  and  the  Potatoes.  Drama, 
with  Gardiner  as  "  Paddy  Shanevan." 

Theatre  Royal,  Abbey  Street,  December,  1843. 

Botheration.  Drama. 

Theatre  Royal,  Abbey  Street,  October,  1843. 

The  White  Quaker ;  or.  The  Village  Alarmist.  Drama, 
with  Gardiner  as  "  Major  Murphy  M'Mahon, 
Count  of  Hohenzelloran  Sclochinblop,  and  Knight 
Companion  of  the  Black  Bears." 
Theatre  Royal,  Abbey  Street,  October,  1843. 

Pitt  (Dibdin),  written  and  produced  by.  The  Wizard 
of  Wicklow ;  or,  Harlequin  and  the  Magic  Larder. 
Pantomime,  with  Gardiner  as  Paddy  M*Gunn." 
Theatre  Royal,  Abbey  Street,  December  26th,  1843. 

Bamfylde  Moore  Carew ;  or,  The  King  of  Beggars. 
Theatre  Royal,  Abbey  Street,  October,  1843. 

Paddy  the  Porter.  Farce,  with  Mr.  Gardiner  as 
"  Paddy  O'Shannon." 

Theatre  Royal,  Abbey  Street,  October,  1843. 

The  Emerald  Ring.    Irish  Drama. 

Played  in  America  by  Barney  Williams. 


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Petticoat  Paddy;  or,  The  Irishman  and  his  Seven 
Sweethearts,  with  Gardiner  as  "  Paddy  O'Grat." 
Burletta. 

Theatre  Royal,  Abbey  Street,  November, 

Baron  Munchausen ;  or,  The  Genii  of  the  Emerald  Isle. 

"Grand  Fantastical,  Serio-Comic  Pastoral,  Comic  Historical, 
Tragi-Bombastic,  Dramatic  Spectalic  Local  Comic  Panto- 
mime."   Theatre  Royal,  Dublin,  December  26th,  1843. 

The  Dumb  Wife;  or,  Irish  Promotion.  Drama,  with 
Gardiner  as  "  O'Smirk." 

Theatre  Royal,  Abbey  Street,  November,  1843.  This  play 
was  performed  in  the  same  theatre  mider  the  title  of  The 
Queen's  Oivn;  or,  Irish  Promotion,  in  December  of  the 
same  year. 

The  Dillock  Girl.    National  Drama,  with  Gardiner  as 
Paddy  MacShane  "  and  Miss  M.  A.  Tyrrell  as 
"  Ellen  O'Halloran." 

Theatre  Royal,  Abbey  Street,  December,  1843. 

Gramachree  Molly ;  or,  The  Lily  of  the  Lakes.  Drama, 
with  Gardiner  as    Paddy  Madigan." 
Theatre  Royal,  Abbey  Street,  February,  1844. 

Harlequin  Shaun  a  Lantliero ;  or,  Fin  M'Coul  and  the 
Fairies  of  Lough  Neagh.  Pantomime. 

Royal,  Dublin,  1844.  The  Boleno  Family  in  the  harle- 
quinade. 

Man  and  Wife.      Comedy,  with  Dennis  Leonard  as 
Cornelius  O'Dedimus,  Attorney-at-Law." 
Theatre  Royal,  Dublin,  January,  1844. 

Wood  (George).  The  Irish  Doctor;  or.  The  Dumb 
Lady  Cured.    A  Farce  in  1  Act. 

Period,  1760.  Cast  :  8  males  and  3  females.  Three 
scenes — 2  exterior  and  1  interior.  Altered  from  Fielding's 
translation  of  Moliere's  La  Medecin  Malgre  Lui.  First 
performed  at  Queen's,  London,  November  19th,  1844. 


IRISH  PLAYS. 


193 


BosiiELLE  (S.  E.  M.).     The  Irish  Serf.     A  Drama  in 
Verse.     1844.  8vo. 

Selby  (C).    The  Irish  Dragoon;  or,  Wards  in  Chan- 
cery.   A  Farce  in  1  Act. 

Cast  :  5  males  and  3  females.  First  performed  at  Adelphi, 
London,  May  26th,  1845.  The  title  role  is  one  Paddy 
Murphy  O'Brallaghan,  a  Light  Dragoon,  turned  porter  to 
a  wine  merchant — a  real  stage  Irishman.  The  farce  is  one 
of  intrigue.  After  many  complications  and  misunderstand- 
ings Paddy  explains  everything  to  everybody's  satisfaction, 
as  only  an  Irishman  could. 

Morton  (J.  M.)    The  Irish  Tiger.    A  Farce  in  1  Act. 

A  gentleman  advertises  for  an  Irish  tiger,  and  hears  that  a 
suitor  for  his  daughter's  hand  is  about  to  enter  the  house 
in  answer  to  the  advertisement  disguised  as  an  Irish  ser- 
vant. A  genuine  applicant  arrives  and  is  mistaken  for 
the  suitor,  and  when  the  suitor  arrives  he  is  mistaken  for 
the  servant.  Much  fun  is  the  result  of  those  mistakes. 
Cast :  5  males  and  2  females.  Modern  costimie.  Time, 
40  minutes.  One  interior  scene.  Haymarket,  London, 
April,  1846.    To  be  had  from  S.  French.  6d. 

  What  do  they  take  me  for?    A  Farce  in  1  Act. 

An  Irishman  is  continually  being  mistaken  for  someone 
else,  and  receives  numerous  bribes  from  them.  A  good 
farce  of  its  kind.  Cast  ;  4  males  and  2  females.  An  ex- 
terior scene.    Modern  costume. 

Plays  by  Dion  Boucicault.  (1822-1890). 

  The  Irish   Heiress    (also   called   West  End.) 

Comedy  in  5  Acts. 

Covent  Garden  Theatre,  London,  February,  1847. 

  The  Knight  of   Arva.     Comic   Drama,  with 

Charles  Verner  as  Connor  the  Rash,"  and  (Sir) 
Squire  Bancroft  as    Duke  de  Chaborines." 

Theatre  Royal,  Dublin,  December,  1863.  First  perform- 
ance at  Hay  market,  London,  November  28,  1848. 

0 


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Andy  Blake.    A  Comedy  in  2  Acts. 

Modern  costume  and  two  interior  scenes.  Easily  staged, 
and  contains  a  capital  Irish  boy's  part.  Cast  :  4  males  and 
3  females.  Time  of  performance,  three-quarters  of  an 
hour.  First  produced  at  the  Boston  Theatre,  November 
20th,  1854,  with  Agnes  Kobertson  (Mrs.  Dion  Boucicault) 
as  Andy.  Andy  is  a  sort  of  male  Nan  in  Good  for  Nothing. 
He,  like  her,  proves  that  hearts  of  gold  are  to  be  found 
in  natures  full  of  impish  playfulness.  Andy's  sister  is  be- 
loved by  one  who  pretends  to  be  a  painter,  and  is  deceived 
by  him.  Andy  learns  that  his  sister's  betrayer  is  a  captain 
in  the  army,  and  leaves  no  stone  unturned  till  he  rights 
his  sister's  wrong  and  brings  the  captain  to  his  sense  of 
duty  towards  her.  This  piece  is  taken  from  the  French  of 
Le  Gamin  de  Paris. 

The  Colleen  Bawn ;  or,  The  Brides  of  Garryowen. 
Drama  in  3  Acts. 

Founded  on  Gerald  Griffin's  novel.  The  Collegians.  A 
splendid  play,  suitable  to  a  big  stage.  Probably  the  most 
popular  of  all  Boucicault's  Irish  dramas.  First  performed 
at  Miss  Laura  Keene's  Theatre,  New  York,  March  27th, 
1860,  with  the  author  as  "  Myles  "  and  Mrs.  Boucicault  as 
"  Eily  O'Connor."  Charles  Wheatleigh  was  the  "  Danny 
Man,"  and  Laura  Keane  the  "  Anne  Chute."  Boucicault 
was  born  in  Dublin  on  December  20th,  1822.  (Some  give 
the  date  as  December  26th,  1820.)  He  died  in  America  on 
September  18th,  1890. 

The  Relief  of  Lucknow.    Spectacular  Drama. 

Produced  in  the  autumn  of  1862  at  Drury  Lane,  London, 
when  the  author  appeared  as  "  Corporal  Cassidy."  Also 
known  as  Jessie  Br  own.    First  peformed,  1858. 

E-escued.  Play. 

In  which  John  Brougham,  actor  and  dramatist,  made  his 
last  appearance  on  the  stage,  as  "  Felix  O'Reilly,  the  Detec- 
tive," at  Booth's  Theatre,  New  York,  on  October  25tb, 
1869. 


Peg  Woffington.  A  Play  in  2  Acts. 
Cast  :  7  males  and  3  females. 


IRISH  PLAYS. 


195 


Rapparee ;  or,  The  Treaty  of  Limerick.  Romantic 
Drama  in  3  Acts. 

It  is  a  simple,  though  real,  picture  of  country  life  at  that 
troublous  time,  full  of  "  go  "  and  humour.  Dutch  and 
Irish  costumes  of  the  reign  of  James  II.,  1691.  Nine 
male  and  two  female  parts.  Plays  an  hour  and  a-half. 
Several  scenes.  It  is  interesting  to  note  that  Shiel  Barry 
made  his  first  London  appearance  at  the  Princess's  Theatre 
as  the  Doctor  in  this  drama,  on  September  9th,  1870. 

The  Omadhaun.    A  Drama  (?). 

Kerry ;  or,  Night  and  Morning.  A  Play  in  1  Act. 
Adapted  from  the  French    La  Joie  fait  Peur." 

A  pathetic  little  piece,  with  a  genial  old  Irish  servant, 
"  Kerry,"  to  lighten  its  burden  of  sorrow  by  the  hopefulness 
of  homely  counsel.  Interior  scene.  Revived  at  Terry's 
London,  January  9,  1893. 

The  Long  Strike.     Drama  in  4  Acts. 

Partly  founded  on  the  story  of  May  Barton  and  partly  on 
that  of  Lizzie  Leigh.  Produced  at  the  Lyceum,  London, 
in  September,  1866,  with  Boucicault  as  "  Johnny  Reilly." 

John  Bull.  Boucicault's  version  of  Cohnan's 
comedy  of  the  same  name. 

Gaiety,  London,  July,  1872. 
The  Shaughraun.    A  Drama  in  3  Acts. 

The  hero  of  this  capital  play  is  an  escaped  Fenian,  and 
Conn,  a  strolling  fiddler,  poacher  and  vagabond  entirely,  is 
his  "  guardian  angel  "  to  guide  him  to  hberty  after  many 
adventures.  Big  cast,  and  many  scenes.  First  performed 
at  Wallack's,  New  York,  1875.  When  it  was  first  played 
in  Dublin,  at  the  Gaiety,  December  27,  1876,  it  ran  for 
seven  weeks.  Hubert  0 'Grady  was  the  Conn  and  Eveleen 
Rayne,  Moya. 


Norah's  Vows.    Irish  Drama  in  4  Acts. 
Produced  at  Theatre  Royal,  Brighton,  July  6th,  1878. 


196 


GUIDE  TO  BOOKS   ON  IRELAND. 


-  Arrali-na-Pogiie ;  or,  The  Wicklow  Wedding.  A 
Drama  in  3  Acts. 

This  is  a  play  full  of  sadness,  tempered  by  mirthful 
moments.  It  tells  of  a  young  countrywoman  being  accused 
of  robbery  on  the  day  of  her  wedding,  and  of  her  husband 
owning  up  to  the  theft  to  free  her,  with  the  result  he  is 
condemned  to  death.  How  he  escapes  from  the  scaffold  is 
graphically  and  dramatically  told  in  the  play.  First  pro- 
duced at  the  Theatre  Royal,  Dublin,  in  November,  1864, 
with  great  success,  and  afterwards  revised  by  the  drama- 
tist. The  revised  version  still  holds  the  boards.  Long 
cast,  and  many  scenes.  John  Brougham  was  "  The 
0 'Grady  "  in  the  original  cast. 

-  Daddy  O'Dowd.  A  Comedy  Drama  in  3  Acts, 
illustrating  Irish  life,  manners,  and  character. 

Michael  O'Dowd,  an  old  Irish  ex-fisherman  and  farmer,  was 
impersonated  by  Shiel  Barry  when  the  play  was  produced 
for  the  second  time  in  Europe  and  first  time  in  Dublin,  at 
Theatre  Royal,  August  16th,  1875.  This  piece  was  after- 
wards called  The  O'Dowd. 

■  Robert  Emmet.    Play  in  4  Acts. 

Produced  New  Prince  of  Wales,  Greenwich,  November  4, 
1884. 

•  The  Jilt.  A  Comedy  with  a  strong  flavour  of 
the  racing  element  in  it. 

This  was  the  last  piece  in  which  its  author  appeared  as  an 
actor  in  London  in  1886. 


 Fin  Maccoul.    Comic  Drama  in  3  Acts. 

Elephant  and  Castle,  London,  February  2nd,  1887.  (Copy- 
right performance.) 

Harlequin  and  O'Donoghue;  or,  The  White  Horse  of 
Killarney.  Pantomime. 

By  the  author  of  "Bluff  King  Hal."  Astley's,  London, 
December  26th,  1850. 


IRISH  PLAYS. 


197 


Barrett  (M.).  T'he  Serious  Familj^  A  Comedy  in  3 
Acts. 

(Sir  F.  C.  Burnand  founded  his  comedy,  The  Colonel,  on 
this  piece.)  Played  in  Dublin  in  December,  1860,  at  the 
Royal,  with  John  Drew  as  "  Captain  Murphy  Maguire." 
Cast  :  5  males  and  5  females.  Adapted  from  the  French, 
"  La  Mari  a  la  Campagne."  Originally  played  at  Hay- 
market,  October  30,  1849. 

My  Friend  in  the  Strips.  Comedietta  in  1  Act. 

(First  time  in  Dublin),  November  9th,  1860,  with  Mr.  John 
Drew  as  "  0 'Blarney."  Cast:  3  males  and  2  females. 
Originally  performed  at  Haymarket,  October  24,  1850. 

Irish  Diamond. 

Haym.arket,  London,  October  29th,  1850. 

Sterling  (Edward).  The  Boiild  Soger  Boy.  Farce 
in  1  Act. 

Strand,  London,  November,  1851. 

Waller   (John   Francis,   LL.D.).     Harlequin  Fiil- 
minoso,   or  the  Gardens  of   Glen-Fearna.  A 
Pantomime  Opening. 
Waller  was  born  in  Limerick  in  1809. 

Reade  (Charles)  and  Taylor  (Tom).  Masks  and 
Faces.  A  Play  in  2  Acts,  with  the  madcap  Irish 
actress.  Peg  Woffington,  as  the  heroine. 

A  fine  play  that  will  hold  the  boards  for  many  years  to 
come.  Lady  Bancroft  was  a  famous  "  Peg  "  in  her  day. 
Cast  :  13  males  and  4  females.  Haymarket,  London, 
November  20th,  1852. 

Calderon.  St.  Patrick's  Purgatory.  A  Play  founded 
on  the  strange  weird  stories  that  cling  round  the 
holy  island  in  Lough  Derg. 

Translated  from  the  Spanisli  by  Denis  Florence  McCarthy, 
1853.  In  the  same  year  Edward  M.  Fitzgerald  translated 
six  of  Calderon 's  plays. 


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Groves  (J.  Holmes).  Don  Paddy  de  Bazan.  A  Farcical 
Interlude  in  1  Act,  but  5  scenes. 

Modern  costume.  Cast  :  6  males  and  1  female.  Time  of 
performance,  40  minutes.  (Published  by  S.  French.  6d.) 
Patrick  JMaguire,  alias  Don  Paddy  de  Bazan,  attempts  to 
save  Claretta  from  arrest,  and  strikes  an  officer,  for  which 
he  is  condemned  to  death.  He  is  allowed  to  marry  her  an 
hour  before  his  execution,  and  then  manages  to  escape. 

  The  Postheen  Phenri.    Drama  in  3  Acts. 

Cardiff  Theatre  Koyal,  February  19th,  1872. 

  That  Rascal,  Pat.    A  Farce  in  1  Act. 

A  good  farce  of  the  old  pattern,  describing  the  amusing 
antics  of  an  Irish  servant.  Cast  :  3  males  and  2  females. 
An  interior  scene.    Easily  staged. 

Taylor  (Tom).    A  Blighted  Being.  A  Farce  in  1  Act. 

Modern  costume.  A  first-rate  farce.  Job  Wort,  the  blighted 
being,  is  an  excellent  part.  One  of  the  characters  is  an 
Irish  apothecary.  Cast  :  4  males  and  1  female.  Produced 
at  Olympic,  London,  October  16th,  1854.  Adapted  from 
the  French  vaudeville,  Une  Existence  Decolor ee. 

  Lady  Clancarthy:  or.  Wedded  and  Wooed.  A 

Play  in  4  Acts,  with  King  William  III.  as  a  cen- 
tral figure  in  the  plot. 

Cast  :  17  males  and  5  females.  Originally  produced  at  the 
Olympic,  London,  March  9th,  1874. 

O'Brien  (Fitzjames).    A  Gentleman  from  Ireland.  A 
Comedy  in  2  Acts. 

It  is  an  amusing  little  piece  of  li^ht  comedy,  easily  staged — 
a  drawingrroom  scene  suffices.  There  is  a  capital  part  in 
Gerald  Fitzmaurice,  who  comes  to  the  Clovers'  house  in 
London  and  wins  his  wav  into  Miss  Clover's  heart,  and 
finds  himself  in  clover.  The  comedv  was  first  played  at 
Wallack's  Theatre,  New  York,  on  December  11th,  1854. 
Cast  :  6  males  and  2  females. 

No  Irish  Need  Apply. 

Played  at  the  Strand,  London,  February  19th,  1854. 


IRISH  PLAYS. 


199 


Irwin  (Edward).  King  O'Toole's  Goose;  or,  The 
Legends  of  Glendalough.  Extravaganza  in  verse. 
(Lacy's  Collection  of  Plays,  1850,  etc.). 

Queen's  Theatre,  Dubhn,  March  24th,  1856. 

GusTAv  (F.).  The  Conspiracy  of  Dublin.  A  German 
5-Act  Play. 

(Leipzig  Mayer,  London.  Reviewed  in  The  Athenceum, 
September  13th,  1856.)  A  dramatised  version  of  the  '98 
period,  with  Lord  Edward  Fitzgerald,  Pamela,  and  Lord 
Castlereagh  as  the  chief  actors  in  the  stormy  melodramatic 
story;  it  tells  of  how  Castlereagh  "  gets  round  "  Pamela 
to  betray  the  leaders  of  the  "  United  Irishmen,"  viz. — 
Arthur  O'Connor,  Wolfe  Tone,  Oliver  Bond,  Napper  Tandy, 
and  M'Nevin,  in  order  to  protect  her  husband.  Ultimately 
she  reveals  their  names  without  gaining  Lord  Edward's 
safety.  The  final  scene  of  all  is  the  storming  of  Dublin 
Castle,  in  which  Lord  Edward  is  wounded  unto  death  by 
an  explosion,  and  is  brought  in  on  a  bier  to  die;  he  forgives 
everyone,  and  his  last  wish  is  "  that  the  Irish  and  the 
English  may  be  one  people  with  one  parliament."  The 
sentiment,  like  the  play,  is  made  in  Germany.  To  quote 
from  review — "  Lord  Edward  symbolises  frank,  enthusiastic 
Ireland;  Castlereagh,  cold,  calculating  England;  and 
Pamela,  the  personification  of  female  devotion,  loving  Erin 
much,  but  her  husband  more,  and  inspired  with  a  horror 
of  popular  insurrection  by  the  fate  of  her  father."  Scene, 
Dublin. 

Kate  Kearney.  A  Legendary  Drama,  with  Mr.  and  Mrs. 
Barney  Williams  as  Ned  Ryan"  and  Kate 
Kearney." 

Royal,  Dublin,  December  7th,  1857. 

Coyne  (Sterling).  Latest  from  New  York.  Interlude, 
with  Barney  Williams  as    Phil  Mulligan." 

Royal,  Dublin,  October,  1857. 

Mephistopheles ;  or,  The  Yankee.  Comic  Interlude,  with 
Barney  Williams  as    Pheliin  O'Rafferty," 

Royal,  Dublin,  December,  1857, 


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Irish  Assurance  and  Yankee  Modesty.    Comic  Drama. 

Played  at  the  Theatre  Royal,  Dublin,  in  October,  1857, 
with  Mr.  and  Mrs.  Barney  Wilhams  as  "  Pat  "  and 
"  Nancy." 

Paddy  the  Piper.  Comic  Drama,  with  Barney 
Williams  as  "  Paddy  Donovan." 

•   Royal,  Dublin,  November,  1857. 

Shandy  Maguire;  or.  The  Boiild  Boy  of  the  Moun- 
tains. Drama,  with  Power  as  Shandy  Maguire." 
Royal,  Dublin,  November,  1857. 

In  and  Out  of  Place.  Comedietta.  (Specially  written 
for  Mrs.  Barney  Williams,  in  which  she  appeared 
in  five  characters,  including  Paddy  O'Rourke," 
a  harvestman.) 

Royal,  Dublin,  October,  1857. 

The  Bashful  Irishman.  Farce,  with  Barnev  Williams 
as  "  O'Galligan." 

Royal,  Dublin,  December,  1857. 

Amherst  (J.  H.).  Ireland  as  it  Was;  or,  The  Middle- 
man.   A  Drama  in  2  Acts. 

An  interesting  drama,  describing  the  trials  of  an  aged  Irish- 
man imprisoned  on  a  false  charge  of  robbery,  and  his  being 
set  free  on  proof  of  his  innocence  forthcoming.  Cast  :  8 
males  and  3  females.  Time  of  performance,  1  hour  and 
30  minutes.  First  played  in  1857  at  the  Adelphi,  London, 
with  Barney  Williams  as  "  Ragged  Pat  "  and  Mrs.  B. 
Williams  as  "  Judy  O'Trot."  The  drama  is  full  of  noble 
sentiment — the  character  of  old  Dan  O'Carolan  is  that  of  a 
very  upright  old  man.  If  there  were  some  more  like  him 
in  modern  Irish  plays  they  would  be  sweeter  and  less 
sordid. 

Phillips  (Watts).  The  Poor  Strollers.  A  Melo- 
drama in  3  Acts. 

Each  act  represents  a  different  country — the  first  passes  in 
France,  the  second  in  England,  and  the  third  in  Ireland. 
The  play  is  sensational  in  cjiaracter,  and  concerns  the  doing 


IRISH  PLAYS. 


201 


to  death  of  a  crusty  old  Irish  gentleman,  Michael  Cassidy, 
by  his  supposed  friend  and  attorney,  William  Lawson,  in 
order  to  get  and  destroy  a  will  the  old  man  had  in  his 
posscssiom  strolling  player  purloins  the  will  and  by  so 
doing  complicates  matters.  In  the  end  the  murderer  is 
brought  to  justice  and  right  prevails.  The  drama  was  a 
big  success  on  its  first  production,  due  chiefly  to  the  acting 
of  Webster  and  Celeste,  as  the  Stroller,  and  his  daughter. 
First  played  at  Adelphi,  London,  January  13,  1858.  A 
critic  of  the  time  whites  : — "  It  owes  nothing  to  the  mere 
scenic  getting  up,  the  management  having  wisely  trusted  all 
to  the  histrionic  talent  engaged  in  the  representation." 
The  piece  was  revived  at  Sadler's  Wells,  London,  in  1866. 

BiBBY  (Thomas).  Gerald  of  Kildare.  A  Dramatic 
Poem.  1844. 

  Silken   Thomas;   or,    St.   Marv's    Abbev.  A 

Sequel.    (Dublin).  1859. 

Born  in  Kilkenny  in  1799,  and  died  January  7,  1863. 

Alien,  The  Rose  of  Killarney.  National  Drama  in  3 
Acts. 

"It  is  the  history  of  passionate  love,  tried  and  trusted  faith, 
temporary  misunderstanding,  consequent  suffering,  eventual 
explanation  of  all  errors,  and  final  happiness  of  two  fond 
hearts."  Played  at  Royal  and  Queen's  on  the  same  night, 
November  12th,  1860,  with  John  Drew  as  "  David 
O'Leary,"  a  shepherd,  at  the  former,  and  Charles  Cooke 
in  that  role  at  the  latter.    Cast  :  6  males  and  3  females. 

Fitzgerald  (John  David).  The  Inspector's  Visit;  or, 
Paddy  Bvrnes,  the  Irish  Schoolmaster.  A  Farce. 
(1860). 

  The  Irish  Election.    A  Farce 

These  two  farces  were  published  in  a  work,  entitled 
Glimpses  of  Irish  Life  (Dublin,  1860).  Fitzgerald  was  a 
Limerick  man. 

Du  TNELL  (Martin)  and  JonNSTON  (J,  Ii.\  Coolean 
Dawn,  Drama. 
Surrey,  London,  October  14th.  1861, 


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Willy  Eeilly.    An  Irish  Drama  in  3  Acts. 

Founded  on  the  old  ballad,  and  on  William  Carleton's  novel. 
Not  too  successfully  dramatised  on  the  whole,  but  contain, 
ing  many  good  comedy  scenes  and  a  dramatically  effective 
trial  scene.  Big  cast  and  many  scenes.  Produced  at 
Marylebcne,  London,  May  5th,  1861. 

Byron  (Henry  J.).   Old  Soldiers.   Comedy  in  3  Acts. 

Modern  costume.  Cassidy,  an  Irish  servant — a  part  origi- 
nally filled  by  Edward  Terry  at  the  Strand,  London — is  a 
good  one.  Cast  :  6  males  and  3  females.  Time  of  perform- 
ance, 2  hours.  First  played  in  January,  1873.  Byron  was 
born  in  1834. 

  Miss  Eily  O'Connor.    Burlesque  in  1  Act. 

(This  is  a  skit  on  the  well-known  play  of  The  Colleen 
Baicn).  Originally  played  at  Drury  Lane,  November  25, 
1861. 

Brough  (William)  and  Halliday  (A.).  Colleen  Bawn 
Settled  at  Last.    A  Farce  in  1  Act. 

Supposed  to  be  a  continuation  of  Boucicault's  The  Colleen 
Bawn.  Cast  :  7  males  and  3  females.  One  interior  scene. 
Time  of  performance,  35  minutes. 

Plays  by  Edmund  Falconer  (1814-1879.) 

  Peep  o'  Day;  or,  Savourneen  Deelish  .  An  Irish 

Drama  in  4  Acts. 

A  most  exciting  play,  with  a  big  sensational  scene  in  Kci  3, 
in  which  the  discarded  wife  of  Stephen  Purcell  is  saved 
by  her  brother.  Captain  Peep  o'  Da^-,  from  being  buried 
alive.  The  play  is  founded  on  one  of  the  Tales  of  the 
O'Hara  Family.  First  played  at  Lyceum,  London,  on  Novem- 
ber 9th,  1861.  Cast  :  19  males  and  7  females.  The  drama- 
tist played  the  part  of  "  Barney  0 'Toole  "  in  the  original 
production.  Falconer  was  born  in  Dublin  about  .the  year 
3813,  and  died  in  London  in  1879.  His  real  name  was 
O'Rourke. 

  Galway-Go-Bragh ;  or,  Love,  Fun,  and  Fighting. 

Drama. 

(Adapted  from  Lever's  novel,  Charles  O'Malley.)  Produced 
at  Drury  Lane  on  November  25th,  1865.  The  author  filled 
the  role  of  "  Mickey  Free," 


IRISH  PLAYS 


203 


  The  O'Flaherty.    A  Farce. 

Played  at  Drury  Lane,  London,  in  1864. 

  Oonagh ;  or,  The  Lovers  of  Lisnamona.  Drama, 

with  Falconer  as    Fardorougha  O'Donovan." 
Produced  at  Her  Majesty's  Theatre,  London,  November 
19th,  1866. 

  Eileen  Oge;  or,  Dark's  the  Hour  Before  Dawn. 

A  Drama  in  4  Acts. 

Full  of  strong,  exciting  scenes  and  telling  incidents.  It 
takes  about  two  hours  and  three-quarters  in  performance. 
The  cast  consists  of  12  males  and  4  females;  and  3  interior 
and  4  exterior  scenes.  Originally  played  at  Princess's 
Theatre,  London,  January  29,  1871. 

 •  Innisf alien ;  or,  The  Man  in  the  Gap. 

First  played  at  Lyceum,  London,  July  17th,  1870.  This 
play  was  performed  in  Dublin,  at  the  Gaiety,  in  May,  1874, 
under  the  title  of  Killarney, 

  Agra-ma-Chree.  Drama  in  5  Acts. 

Manchester  Theatre  Royal,  March  8th,  1875. 

  The  O'Donoghue's  Warning.    Irish  Drama. 

Produced  at  Theatre  Royal,  Dublin,  October  28th,  1878. 

Floyd  (W.  R.).  Handy  Andy.  A  Comic  Drama  in 
2  Acts. 

Founded  on  Samuel  Lover's  novel  of  that  name.  Cast :  10 
males  and  3  females.  First  played  at  Wallack's  Theatre, 
New  York,  in  1862,  with  W.  J.  Florence  as  "  Handy 
Andy."  The  play  is  weak  as  a  drama,  but  strong  in  the 
role  of  the  blundering  servant  boy,  who  turns  out  to  be  a 
duke  in  the  end.  His  blundering  brings  about  his 
"  making  "  in  a  way  unknown  outside  the  realms  of  drama. 

Montgomery  (H.  W.).  Handy  Andy.  A  Comic  Drama 
in  1  Act. 

Founded  on  the  same  novel.  Cast  :  11  males  and  7  females. 
Some  people  despise  "  Handy  Andy,"  and  say  Lover 
grossly  exaggerated  the  type,  but  we  cannot  get  away  from 
the  fact  that  we  always  have  our  Andies  with  us  all  the 
same  I 


Smyth  (William),  "William  Scribble/'  Old  Carlisle 
Bridge.    Dramatic  Sketch.    (Dublin).  1862. 

Produced  at  Queen's  Theatre,  Dublin.  Smyth  was  born 
in  Dublin  on  November  12,  1813,  and  died  in  London  on 
March  5,  1878. 

OxENFORD  (John)  and  Benedict  (Sir  Jules).  The 
Lily  of  Killarney.  A  Romantic  Irish  Opera  in  3 
Acts. 

Music  by  Sir  Jules  Benedict.  Founded  on  Boucicault's 
drama,  The  Colleen  Baivn,  Full  of  sweet  melody  that 
never  grows  stale  to  an  Irish  audience.  Libretto  by  John 
Oxenford.  First  sung  at  Koyal  London  English  Opera, 
Covent  Garden,  London,  February  2nd,  1862. 

O'SuLLivAN  (Gerald).  Robert  Emmet,  the  Irish  Martyr. 
Play,  with  J.  Connelly  in  the  chief  character. 

Prince  of  Wales's  Theatre,  Fishamble  Street,  Dublin, 
December  15th,  1862. 

Barry  (Rev.  Michael).  The  Siege  of  Limerick.  An 
Academic  Drama.  G2  pp.  1863.  (Of  All  Hal- 
lows). 

Died  about  1860. 

The  Betting  Man's  Career;  or,  The  Shade  of  Dan 
Donnelly,  and  What  Happened  to  Him.  Historical 
and  half-tragedy  and  comedy. 

Prince  of  Wales's  Theatre,  Fishamble  Street,  December, 
1863. 

The  Last  of  the  O'Rourkes ;  or,  It's  only  my  Cousin !  !  ! 

Prince  of  Wales's  Theatre,  Fishamble  Street,  December, 
1863.  Such  titles  as  the  above  frequently  appeared  in  the 
advertising  columns  of  the  papers  when  Mr.  Frederick 
Freebyrne  was  the  lessee  of  this  theatre. 

King  Brian  Boroihme ;  or,  Harlequin  Prince  Roderick, 
and  the  Fair  Eveleen,  or  the  Banshee  of  Kincora. 
Pantomime. 

Prince  of  Wales's  Theatre,  Fishamble  Street,  Dublin, 
December  26th,  1863, 


IRISH  PLAYS. 


205 


Wagner  (Richard),  libretto  and  music  by.  Tristan  and 
Isolda,  legendary  Opera. 

It  tells  of  the  tragic  love-story  of  Tristan,  a  young  knight, 
for  the  Irish  princess,  Isolda,  whom  he  comes  to  Ireland 
to  conduct  to  King  Mark  of  Cornwall  to  be  married  to 
him.  Tristan  falls  deeply  in  love  with  her  on  his  journey 
across  the  sea,  and  tragedy  is  their  lot  in  the  end.  Origi- 
nally produced  at  Munich,  June  10,  1865.  Printed  1860. 
Wagner  was  born  May  22,  1813,  and  died  February  13, 
1883.  A  superb  rendering  of  this  opera  was  given  by  the 
Quinlan  Opera  Co.  at  the  Royal,  Dublin,  January  1,  1912, 
with  Agnes  Nicholls  and  John  Coates  as  the  ill-fated  lovers. 

Plays  by  C.  H.  Hazlewood. 

  The  Fairy  Man.    Original  Hibernian  Drama  in 

3  Acts. 

Britannia,  October,  1865.    (See  Poul-a-Dhiol.) 

  The  Ballinasloe  Boy.    Drama  in  2  Acts. 

Britannia,  London,  June  24th,  1867. 

  Erin-Go-Bragh ;  or,  The  Wren  Boys  of  Kerry. 

Drama. 

Britannia,  London,  April  18th,  1870. 

  Aileen  Asthore;  or,  Irish  Fidelity.    Drama  in  4 

Acts. 

Portsmouth,  Royal  Albert,  February  20th,  1871. 

  The  Four  Kings ;  or,  Paddy  in  the  Moon.  Bur- 
lesque. 

Britannia,  London,  April  14th,  1873. 

Arrah-na-Brogue.  Drama. 

Sadler's  Wells,  London,  October  25th,  1865'. 

The  Soldier  of  Fortune;  or,  The  Irish  Settler.  Comedy. 

Played  at  Royal,  Dublin,  in  April,  1865,  with  John  Collins 
as     Captain  O'Rourke." 


206 


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The  Grin  Bushes;  or,  Mrs.  Brown  of  the  Missusippi. 
Burlesque  on  Drama,  The  Green  Bushes. 
Cast  :  6  characters.    Played  at  Queen's,  Dublin,  June,  1865. 

Ar  r  ah-Ma-Beg.    Drama . 

City  of  London,  October  25th,  1866. 

Count  ( — .)    The  Irish  Minstrel.  Drama, 

Cheltenham  Theatre  Royal,  June  31st,  1867. 

Howe  (J.  B.)     The  Shamrock  of  Ireland.  Drama 
in  3  Acts. 

Britannia,  London,  May  20th,  1867. 

Lynam   (Colonel  W.  F.).     Darby  the  Dodger.  A 
Comic  Drama,  Dublin,  1867. 

(A  presentation  copy  to  Richard  Pigott  is  included  in 
Patrick  Trayner's  Catalogue  of  Books,  No.  18,  1890). 
Lynam  was  the  author  of  the  series  of  stories,  with  Mick 
McQuaid  as  their  hero,  that  runs  in  The  Shamrock  still. 

Eeeve  (Wybert).    Pike  O'Callaghan;  or,  The  Irish 
Patriot.    A  Drama  in  3  Acts. 

A  good  Irish  drama  of  the  old  pattern,  in  which  a  rebel, 
Neill  O'Connor,  and  his  faithful  follower,  O'Callaghan, 
figure  prominently — the  latter  gets  the  former  out  of  all 
tight  corners.  The  love  interest  is  prominent.  Characters  : 
7  males,  2  females,  and  2  children.  There  are  seven 
scenes — 5  interior  and  2  exterior.  Scarborough  Theatre 
Royal,  September  29th,  1868.  To  be  had  from  S.  French. 
6d. 

Travers   (William).     Kathleen  Mavourneen;  or,  A 
Dream  of  St.  Patrick's  Eve.    A  Drama  in  4  Acts. 

A  popular  drama  on  conventional  lines.  Redcoats,  spies, 
distressed  heroine,  persecuted  hero,  "  broth  of  a  boy/' 
friend  of  the  hero,  villain  who  swears  heroine  must  be  his, 
etc.,  etc.  Suitable  to  a  large  stage  only.  Old  Bowery 
Theatre,  New  York,  1868. 

 The  Emerald  Queen.  Drama. 

Britannia,  London,  July  18th,  1870. 

  The  Four  Leaved  Shamrock.  Play. 


IRISH  PLAYS.  207 

Robertson  (T.  W.).    Dublin  Bay.  Comedy. 

Manchester  Theatre  Royal,  May  18th,  1869.  This  dramatist 
wrote  Caste  and  several  other  celebrated  comedies  that  won 
for  themselves  the  name  of  "  Cup  and  Saucer  Comedies." 
He  was  a  brother  of  Mrs.  Kendal,  the  great  English  actress. 

Pitt  (W.  H.).    Biddy  O'Neil;  or,  The  Daughter  of 
Erin.    Drama  in  2  Acts. 

Britannia,  London,  March  29th,  1869. 

Robinson  (Nugent).   Janet  O'Brien.   A  Drama. 

The  story  is  simple  but  effective,  and  the  incidents  modern. 
(The  scene  is  laid  in  Dublin  and  Austria,  1861-1866.)  Pro- 
duced, Royal,  Dublin,  February  27th,  1869. 

Howe  (J.  B.).    The  Poor  Parisheen;  or,  The  Fugitives 
of  Derrinane.    Drama  in  3  Acts. 
Britannia,  London,  September  27th,  1869. 

Fahy  (Francis  Arthur).     The  Last  of  the  O'Learys. 
A  Play.  1870. 

This  piece  was  played  in  his  native  town,  Kinvara,  Co. 
Galway,  where  he  was  born  on  September  29,  1854. 

The  Seventies* 

Mansfield  (J.  S.).     Sally  Kavanagh;  or,  A  Tale  of 
Tipperary.  Drama. 

Dewsbury  Theatre  Royal,  November  18th,  1871. 

Anchora  Macree.  Drama. 

Sunderland  Lyceum,  March  13th,  1871. 

Sterling  (Edward).    The  Dark  Glen  of  Bally  Foihl. 
Drama. 

Ipswich  Theatre  Royal,  October  28th,  1871. 

  The  Shingawn  ;  or,  Old  Ireland's  Shamrock  Has 

Not  Withered  Yet.  Drama  in  4  Acts. 
Portsmouth  Royal  Albert,  February  5th,  1872. 


ZUG  GUIDE  TO  BOOKS   ON  IRELAND. 

Collins  (J.  P.).  Aileen ;  or,  Foiled  at  Last.  Drama 
in  2  Acts. 

Grecian,  London,  April  15th,  1872. 

Arrali  Niel ;  or,  The  Vale  of  Knockfierna.  Drama. 

Liverpool,  Aclelphi,  April  1st,  1872. 

Clements  (A.).  Two  to  One;  or,  The  Irish  Footman. 
A  Farce  in  1  Act. 

Modern  costume.  A  kitchen  scene.  A  cook  and  a  house- 
maid are  in  love  with  the  footman,  and  a  quarrel  ensues 
over  which  shall  have  him.  He  soon  stops  them  by  declar. 
ing  that  he  is  already  married.  Cast  :  1  male  and  3 
females.  Time  of  performance,  25  minutes.  Sadler's 
Wells,  London,  October  17th,  1872. 

The  Lady  of  Kildare;  or.  Married  in  Mistake.  Drama. 

Salisbury  Queen's,  March  4th,  1872. 

Frece  (Maurice  de).    Pat's  Thanksgiving.  Farce. 
Liverpool  Theatre  Royal,  IMarch  18th,  1872. 

George  (G.  H.).     Killarney;  or,  Tlie  Maiden's  Wish 
and  the  Fairy  of  the  Lake.    Drama  in  2  Acts. 
Oriental,  London,  August  29th,  1872. 

Travis  (W.  J.).  Erin-Go-Bragh ;  or,  The  Milesian 
Trust  in  Luck.  Drama. 

Victoria,  London,  May  3rd,  1873. 

O'Connor  (Bartholomew).  The  Irish  Land-Agent. 
A  Comedy  in  6  Acts,  with  Songs.  (Dublin). 
1873. 

Fraser  (Julia  Agnes).  Patrick's  Vow.  Drama  in  5 
Acts. 

Strathavon  Victoria  Theatre,  May  23rd,  1873. 

 Dermot  O'Donoghue,  the  Stranger  from  Belfast. 

Theatre  Royal,  Belfast,  November  25th,  1878. 


IRISH  PLAYS.  209 

  Pat  of  Mullingar;  or.  An  Irisli  Lothario.  Irish 

'Comedy  Drama  in  3  Acts. 

(Published  at  "  Greenock  Advertiser  "  Office,  Grreenock.) 

Robert  Emmet,  the  Irish  Patriot  of  1803.  Drama. 

Blvth  Octogaii,  Fehruarv  14th,  1873. 

Cahill  (W.  B.).    Inchavogiie.    Drama  in  4  Acts. 

East  London,  April  21st,  1878. 

Garrick  (David).   The  Irish  Belle  Farce. 

Revised  version  of  The  Irish  Widou\  Charing  Cross,  Lon- 
don, 1873. 

The  Connie  Soogah;  or,  The  Wearing  of  the  Green. 
Prize  Drama,  with  Barney  Williams  as  Corney 
M'Grath  " — assuming  the  disguise  of  the  Connie 
Soogah;  and  Mrs.  Williams  as  "Nelly  Nolan." 
Royal,  Dublin.  May,  1873. 

Plays  by  Frederick  Cooke. 

  Maureen-na-Laveen.    Drama  in  3  Acts. 

Greenock  Theatre  Royal,  Februai-y  7th,  1873. 

  '98;  or,  Faugh-a-Ballagh.    Irish  Drama. 

Produced  at  the  Prince  of  Wales's,  Rochdale,  Julv  13th, 
1874. 

  The  Diver's  Luck.    A  Realistic  Drama  in  4  Acts. 

The  principal  character  in  this  exciting  play  is  a  good- 
hearted  Irishman,  Big  Barney  Bawn.  First  time  in  Dub- 
lin at  Queen's,  September  17th,  1888.  Cast  :  13  males  and 
4  females. 

  and  Waldron  (W.  R.).  Icebound;  or.  The  Exiles 

of  Fortune.  Drama  in  5  Acts,  with  Fred.  Cooke 
as  "  Larry  O'AIoore,"  head  man  from  Bally- 
shannon  stables. 

Queen *s  Theatre,  Dublin,  August  15th,  1892.  Cast  :  11 
males  and  4  females. 

V 


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— —  On  Shannon's  Shore;  or,  The  Blackthorn.  An 
Irish  Drama,  illustrative  of  modern  life  in  Ireland, 
.  in  4  Acts. 

A  melodrama  set  in  Irish  soil,  full  of  sensational  episodes, 
with  the  dramatist  as  "  Barney,"  "  with  the  Spirit  of  an 
Eagle,  Heart  of  a  Dove,  and  Head  of  a  Fox,"  to  quote 
programme  description.  Played  for  first  time  in  Dublin  at 
Queen's,  on  August  12th,  1895.  Cast  :  12  males  and  5 
females.  First  performance  at  Reading  Princess  Theatre, 
February  14,  1895.    Cooke  died  November  15,  1905. 

Doyle  (Thomas  F.).    An  Irish  Intrigue.  Farce. 

Sunderland  Theatre  of  Varieties,  September  29th,  1873. 

All  Hallow's  Eve ;  or,  Snap  Apple  Night.  Irish 
V.    Legendary  Drama,  with  Mr.  and  Mrs.  Barney 
William.s'  as    "  Rory   O'Connor''    and  Kitty 
Killeen." 

Royal,  Dublin,  May,  1873. 

Plays  by  John  Levey. 

  Cushla-Ma-Cree.    Drama  in  3  Acts. 

^     Liverpool  Adelphi,  September  1st,  1873. 

— — -  The  Banshee;  or,  The  Spirit  of  the  Boreen.  Irish 
Drama  in  5  Acts. 

Elephant  and  Castle,  London,  February  28th,  1876. 

  Moyna-a-Eoon ;    or.    The     Rapparee'-s  Bride. 

Drama. 

Chester  Theatre  Royal,  October  25th,  1876. 

  Leprachaun;  or.  The  Lovers  of  Tara's  Vale. 

Drama. 

Liverpool  Theatre  Royal,  February  19th,  1877. 

  Irishman's  Heart;  or,  A  Kiss  of  the  Blarney. 

Comedietta. 

Britannia,  London,  September  29th,  1879. 


IRISH  PLAYS.  211 

 —  Daniel  O'Connell;  or,  Kerry's  Pride  and  Mun- 

ster's  Glory.    Irish  Drama  in  3  Acts. 

Produced  at  Theatre  Royal,  Worcester,  June  21st,  1880. 
Branson  (W.  S.).   Dead  o'  Night  Boys.    Irish  Drama. 

Greenwich,  September  19th,  1874. 

Sidney  (W.)   Neale  O'Neil.  Comedy. 

Produced  at  Prmce  of  Wales's,  Liverpool,  July  20th,  1874. 

Akhurst  (W.  a.  v.).  To  the  Green  Isles  Direct. 
Musical  Eccentricity. 

Britannia,  London,  May  25th,  1874. 

Archer  (J.).  Granua-Waile ;  or,  The  Bridal  Eve.  Irish 
Drama. 

East  London,  December  26th,  1874. 
LoGUE  (J.  D.).    Blarney.  Farce. 

Norwich  Theatre  Royal,  March  12th,  1875. 

Brady  (F.).    Willy  Eeilly.  Drama. 

Glasgow  New  Adelphi,  March  29th,  1875. 

The  Irishman's  Home.    Drama.  , 

Scarborough  Theatre  Royal,  April  12th,  1875. 

O'Shea  (John  Augustus).  Blonde  and  Brunette. 
An  original  Comedietta.  Acting  edition  pub- 
lished London,  1875. 

Cast:  3  males  and  2  females.  Pat  Gumming,  an  L*ish 
waiter,  is  one  of  the  characters.  Scene,  An  English  hotel. 
Period,  40  years  ago.  Time  of  acting,  about  forty-five 
minutes.  An  amusing  little  piece,  in  which  the  "  Bru- 
nette "  masquerades  as  a  "  Captain  "  in  order  to  bring  the 
fickle  young  man  who  wooed  her  "  Blonde  "  friend  up  to 
the.  scratch,  winning  a  husband  for  herself  at  the  same 
time.  "  Pat,  the  waiter,- is  quite  a  character."  The  copy 
which    I    read   was   a    presentation    copy    to    "  D.,  J. 


212 


GUIDE  TO  BOOKS   ON  IRELAND. 


O'Donoghue,  with  the  author's  blunt  invitations  to  laugh- 
ter.'* It  was  Mr.  O'Shea  who  translated  from  the  French 
and  put  into  Irish  dialect  the  legend  upon  which  W.  B. 
Yeats  founded  his  play  "  The  Countess  Cathleen."  O'Shea 
was  born  at  Nenagh  (Co.  Tipperary)  about  1840,  and  died 
at  London,  March  13,  1905. 

''•Plays  by  Augusts  Creamer. 

  Blarney.  Drama. 

Newcastle-under-Lyme  Theatre  Royal,  March  1st,  1875. 

  Informers.  Play, 

Produced  at  Royal,  Leeds,  August  31st,  1883. 

 •  Irish  Life.  Drama. 

Produced  November  7th,  1890,  at  Sadler's  Wells,  London. 

  Irish  Diamonds. 

Auguste  Creamer  toured  in  this  and  other  dramas  for 
several  years.  Punch  once  called  this  actor  "  The  Creme- 
de-la-Creamer  of  Irish  actors." 

Logue  (J.  D.).   The  Colleen  Glas.  Drama. 

Norwich  Theatre  Royal,  December  1st,  1875. 

Stanhope  (B.).   O'Donnell  Aboo.  Drama. 

St.  Helen's  Theatre  Royal,  February  13th,  1875. 

Richardson  (H.).    An  Irishman's  Policj\  Farce. 

Barnsley  Mechanics'  Hall,  September  9th,  1875. 

Gilbert  (W.  S.).  Tom  Cobb;  or,  Fortune's  Toy.  A 
Farcical  Comedy  in  3  Acts,  in  which  Colonel 
O'Flip,"  an  Irish  adventurer,  and  his  daughter 
appear. 

The  comedy  is  full  of  genuine  fun.  Tom  Cobb,  a  young 
medical  student,  in  order  to  rid  himself  of  his  debts,  "  puts 
it  out that  he  is  dead,  and  assumes  another  name  at 
random.  His  new  "  name  "  leads  to  complications  with  a 
romantic  family  of  the  aesthetic  type,  and  when  he  wants 


IRISH  PLAYS. 


213 


to  resume  his  own  name  again  and  come  back  to  life,  he 
finds  great  difficulties  in  his  way.  First  produced  at  St. 
James's,  London,  April  24th,  1875.  Cast  :  6  males  and  4 
females.  Sir  William  was  born  in  London,  November  18th, 
1836,  and  was  accidentally  drowned  on  May  29th,  1911. 
His  comic  opera  librettos  will  live  for  ever. 

 O'Comiell  Tableaux,  in  honour  of  O'Connell  Cen- 
tenary.    (August,  1876). 

Queen's  Theatre,  Dublin,  Arthur  Lloyd  was  Lessee  and 
Manager  at  the  time,  Monday,  August  2nd,  and  during  the 
week.  1st  Tableau — O'Connell  interrupted  at  one  of  his  great 
Repeal  Meetings  by  Major  Sirr.  2nd  Tableau — The  Duel 
between  O'Connell  and  D'Esterre.  3rd  Tableau — O'Connell 
refusing  the  Oath  in  the  House  of  Commons.  4th  Tab- 
leau— The  release  from  Richmond  Bridewell,  O'Connell  in 
Triumphal  Car.  5th  Tableau — O'Connell  seated  in  his 
Chair  and  crowned  by  Fame. 

Glover  (Professor).    Tara.  Oratorio. 

Principal  characters — St.  Patrick  (Richard  Smith),  King  of 
Tara  (Barton  M'Guckin),  King's  Daughters — Ethnea 
(Madame  Gedge)  and  Fethelema  (Mrs.  Scott  Fennell). 
Exhibition  Palace,  August  7,  1875.  Conductor  (Professor 
Glover),  Leader  (R.  M.  Levey),  Principal  1st  Violin  (N. 
Healy),  Principal  'Cello  (Herr  Eisner),  Organist  (Mr. 
Horan),  and  Solo  Harp  (Mrs.  Mackey).  Published  in 
Dublin,  1875.  Glover  also  wrote  music  to  "  The  Deserted 
Village/' 

Brahain,  (H.).   The  Spalpeen.  Drama. 
Paignton  Bijou  Theatre,  October  11th,  1875. 

CoGHLAN  (Charles  F.).  A  Quiet  Rubber.  l-Act  Play. 
Adapted  from  the  French,  La  PaHie  de  Piquet,  in 
which  John  Hare  made  one  of  his  biggest  successes 
as  old  "  Lord  Kilclare." 

Court,  London,  January  8th,  1876. 


Lord  (T.  W.).   Pish  o'  Pogue.    Irish  Drama. 

South  Shields  Royal  Amphitheatre,  May  22nd,  1876. 


GUIDE  TO  BOOKS   ON  IRELAND. 


Pla5^'S  by  Barry  Connor. 

  Gra  Gal  Machree.    Irish  Drama. 

Britannia,  London,  July  31st,  1876. 

  The  Sumachaun.    Irish  Drama  in  3  Acts. 

Produced  at  Britannia,  London,  August  5th,  1878. 

  Corney  Rhue.  Drama. 

Britannia,  London,  August  4th,  1879. 

  Ony-na-Pocha ;  or,  Ony  of  the  Fairies.  Irish 

Drama  in  3  Acts. 

Queen's,  Dublin,  Julv,  1880.  First  plaved  at  Limerick 
Theatre  Royal,  September  27th,  1870. 

■         Emigration.   Irish  Drama. 

It  depicts  the  effects  of  an  unjust  eviction.  Period,  June, 
1880.  The  author  appeared  as  "  Cormac  O'Reilly," 
Queen's,  Dublin,  13th  July,  1880.    (First  pei'formance.) 

O'Connor  (William).  Barry  O'Connor."  Jerry 
Coyne's  Double;  or,  The  Dream  in  The  Fairy 
Ring.    An  Irish  National  Drama  in  6  Acts. 

First  played  by  the  Emerald  Dramatic  Society  at  Victoria 
Hall,  Huddersfield,  on  September  5th,  .  1906.  Time,  the 
present  day.  Founded  upon  one  of  the  author's  Irish 
sketches.  "  The  play  is  original,  with  the  exception  of  a 
portion  of  Jerry's  fairy  dialogue,  which  is  slightly  altered 
from  an  Irish  folk-lore  tale."  So  writes  the  author  in 
his  "Introduction."  Cast:  II  male  and  4  female 
characters.  (Geo.  Harper's  Exors.,  Lord  Street,  Hudders- 
field.) 

Nugent  (James  Fitzgerald).  The  Dhrame;  or, 
Barney's  Mistake.  Farce. 

Birkenhead  Theatre  Royal.  July  lOth^  1876. 

Towers  (Edward).  Shemus-na-Lena ;  or,  The 
Speidor.    An  Irish  Drama  in  4  Acts. 

Played  at  the  Queen's,  Dublin,  in  the  Eighties.  First 
played  at  Liverpool  Theatre  Royal,  March  6th,  1876. 


IRISH  PLAYS. 


215 


  The  Boatman  of  the  Shannon.    Irish  Drama  in 

3  Acts. 

Pavilion,  London,  February  24th,  1877. 

  Balla-go-Faugh.    Irish  Drama  in  3  Acts. 

Played  at  Pavilion,  London,  November  13th,  1880. 

Downey  (L.).  Wearing  of  the  Green;  or,  The  Lover's 
Leap.    Drama  in  3  Acts. 

Victoria,  London,  October  1st,  1877. 

Murdoch  (Mortimer).  Cead  Mille  Failthe.  Irish 
Drama  in  Prologue  and  3  Acts. 

Produced,  East  London,  December  20th,  1877. 

LoNGHAYE,  S.J.  (Rev.  Fr.).  Connor  O'Nial;  or, 
LTrlande  sous  Edouard  VI.  Published  at  Amiens. 
2  ed.  1877. 

A  tragedy  in  6  Acts,  and  in  verse  written  in  the  classic 
manner  of  the  French  17th  century  dramatists.  The 
scene  is  laid  in  Ulster  (near  Antrim,  and  at  Castle  of 
Lungar),  in  1549.  Connor  O'Nial  has  gone  over  to  the 
English.  In  1549  he  comes  to  Ulster  along  with  his 
anglicised  son,  Richard,  and  Sir  William  Gray.  But  here 
he  falls  under  the  influence  of  his  eldest  son,  Shane,  whom 
he  was  about  to  disinherit,  and  is  won  again  to  Ireland. 
The  cast  consists  of  13  males,  including,  besides  those 
mentioned,  Kildare,  O'Donnell,  Maguire,  Hugh  O'Neill, 
and  Bishop  O'Kervalan.  The  author  is  an  eminent  littera- 
tuer,  several  of  whose  works  have  been  crowned  by  the 
French  Academy. 

Macuerxe  (S.  J.)  and  Aylmer  (Barry") .  Dorrv 
Driscoll ;  or,  The  Sportsman  Pearh  Irish  Drama 
in  3  Acts. 

Liverpool  Alexandra,  April  16th.  1877. 

La  VERY  (J.).  Garryowen;  or,  The  Bells  of  Shandon. 
Irish  Drama  in  4  Acts. 

Victoria,  Loudon,  May  21st.  1877. 


216  GUIDE  TO  BOOKS   ON  IRELAND. 

The  Lucky  Stone.    Irish  Drama. 

Britannia,  London.  Tnly  16th,  1877. 

Dacre  (H.\  Tlie  Man  in  the  Moon:  or.  Dan  O'Rourke 
and  the  Eagle :  Harlequin  O'Donoghue  of  the 
Lakes  and  the  Leprachauns  of  the  Fairy  Valley. 

A  National  Christmas  Pantomime,  re-written  and  modern- 
ised with  local  hits  and  topical  songs.  Produced  at 
Queen's,  Dublin,  on  December  26th,  1877.  Charles 
Sullivan  was  the  "  Daniel  O'Rourke."  Why  have  we  no 
Irish  pantomimes  nowadays? 

The  Queen  of  Connaugiit.    Comedy-Drama  in  4  Acts. 

Olympic,  London,  January  15th,  1877. 

Williams  (W.).  Shadragh,  the  Hunchback.  Irish 
Drama  in  4  Acts. 

First  plaved  at  Theatre  Roval,  South  Shields,  April  18th, 
1878. 

Addersley  (Fred.).    Regan-na-Glenna.  Drama. 

Produced,  Theatre  Iioval.  Cambridge,  September  16th, 
1878. 

Travers  (W.).    Xorah  O'Neal.    Irish  Drama. 

East  London,  December  22nd,  1878. 

Green  (F.  W.).  Conn;  or,  Out  of  Sight,  Out  of  Erin. 
Drama. 

Liverpool  Alexandra,  April  28th,  1879. 

•^^Dawsox  (Charles).      Finola ;  or.  The  ilarriage  of 
Tara.     A    dramatic    piece,    interspersed  with 
Moore's  Melodies. 
(DubJin,  1879.) 

Werner  (C.  J.).  Phadrig,  the  Bocaun.    Irish  Comedy. 

Kilkenny  Athenaeum  Hall,  IMay  9th,  1879. 

Hay  WARD  (A.).  Shandy,  the  Spalpeen.  Irish  Drama. 

Barnsley  Gaiety.  June  24th,  1879. 


IRISH  PLAYS. 


217 


Godfrey  (G.  W.).  The  Queen's  Shilling.  A  Comedy 
in  3  Acts.  A  new  version  of  Le  Fils  de  Famille, 
of  Mm.  Bayard  and  Bieville. 

First  performance  in  London  on  April  19th,  1879,  with 
Mr.  and  Mrs.  W.  H.  Kendal  in  the  cast.  This  piece  was 
already  known  on  the  Enorlish  stage  under  the  title  of 
"  The  Lancers  "  (1853).  There  is  an  Irish  soldier  char- 
acter in  the  comedy.    Cast  :  8  males  and  3  females. 

==-BuRNAND  (Sir  Francis  Cowley).  Betsv.  Comodv  in 
3  Acts. 

Contains  an  important  Irish  character — Captain  Redmond 
]\[cManus.  Cast  :  6  males  and  6  females.  This  amusing 
))ieco  was  immensely  popular  "  twenty  golden  years  ago." 
Sir  Francis  was  born  November  29th,  1836.  First  played 
at  Criterion,  London,  August  6,  1879. 

The  Eighties. 

Chute  (J.  C).    Connemara.    Irish  Drama. 

Produced  at  Prince  of  Wales's  Theatre,  Warrington,  May 
24th,  1880. 

The  Absentee.  Drama. 

Queen's,  Dublin,  April,  1880. 

McSwiNEY  (Taul).     Amergin.     An  Irish  Opera. 

Performed  in  Cork  in  1880  by  amateurs.  Words  and  music 
by  \\\  McSwiney. 

 The  Fairies'  Dell.    An  Irisli  Drama. 

Played  in  New  York. 

  An  Bard  gus  an  Fo  (The  Bard  and  the  Knight). 

A  Gaelic  Idyll. 

Produced  by  the  New  York  Gaelic  Society,  1884. 

— —  Brian.    A  Tragedy  in  4  Acts. 

New  York,  1890. 


218  GUIDE  TO  BOOKS   ON  IRELAND. 

An  Irish  Engagement.  Comedietta. 

Queen's,  Dublin,  April,  1880. 

Dublin  by  Night.    Sensational  Drama. 

Queen's,  Dublin,  April,  1880,  with  Gardiner  Coyne  in  the 
cast. 

Poul-a-Dhiol.    Irish  Drama. 

Queen's,  Dublin,  March,  1880. 

Mackey  (Joseph  William).    Peggy.    A  Drama.  • 

Produced  at  Royalty  Theatre,  London,  February  14,  1881. 
Mackey  was  born  in  Belfast  in  1850,  and  died  on  December 
18,  1889. 

Manning  (Michael  A.).     Rent.     Irish  Drama. 

First  played  at  New  Theatre  and  Opera  House,  Water- 
ford,  on  September  19th,  1881,  the  author  filling  the  role 
of  hero — a  true-hearted  Irish  boy  1 

  Shamrocks.  Drama. 

Edmund  Downey  wTote  me  that  "  he  has  some  portion 
(about  half)  of  the  MS.  of  this  piece  in  a  rough  state 
(dated  1882)." 

 Betrayal.  Drama. 

The  dramatist  produced  and  acted  in  both  these  plays. 

A  Ride  for  Life.   Irish  Drama. 

Queen's,  Dublin,  September,  1881.  with  Mi\  E.  F.  Brady 
in  the  cast. 

DiGGEs  (West).    Robert  Emmet.    A  Drama. 

Produced  at  Theatre  Royal,  Leicester,  on  May  2nd,  1881. 

Marshall  (Frank  A.).     Robert  Emmet.     A  Drama. 

This  play  was  written  for  Sir  Henry  Irving  in  1881,  but 
never  played  by  him,  as  it  was  prohibited — by  request — 
by  the  Lord  Chamberlain's  department.  Irving  showed 
the  play  to  Dion  Boucicault,  who  touched  it  up  and  played 
in  it  himself  in  America,  without  much  success. 


IRISH  PLAYS. 


219 


The  Suspect's  Daughter  ;  or,  The  Rose  of  Ballymahon. 
Irish  Drama,  with  Miss  Douglas  Gordon  in  the 
cast. 

Queen's,  Dublin,  November,  1881. 

Norah  Creena.    Irish  Drama. 

Queen's,  Dublin,  September,  1881.  Miss  Ivy  Loraine  in 
the  title  role. 

Brady  (E.  F.).   Home  Eule.    Irish  Drama  in  3  Acts. 

The  scene  is  laid  in  the  Western  Highlands  of  the  County 
Galway,  and  is  simply  a  resume  of  the  scenes  and  inci- 
dents depicting  the  condition  of  the  Irish  farmer  in  the 
early  eighties.  Played  at  the  Queen's,  Dublin,  in  Septem- 
ber,''1881,  by  Mr.  E.  F.  Brady  and  Company. 

Buchanan  (Robert).  The  Exiles  of  Erin;  or,  St.  Abe 
and  his  Seven  Wives.  A  Mormon  Drama  in  4 
Acts  and  7  Tableaux. 

Produced  at  Olympic  Theatre,  London,  May  7th,  1881. 

  and  Jay  (Harriet) .     Alone  in  London.  Drama 

in  Prologue  and  4  Acts. 

Olympic,  London,  November  2nd,  1885.  A  fine  exciting 
play,  with  a  good-hearted,  lovable,  old  Irish  apple-woman 
in  the  cast. 

^ — -  Dick  Sheridan.    Play  in  4  Acts. 

The  piece  tells  the  romantic  love-story  of  Richard  Brinsley 
Sheridan  and  Miss  Elizabeth  Linley.  It  was  played  at 
the  Gaiety,  Dublin,  in  March,  1894. Cast  :  13  males  and 
8  females. 

Plays  by  Hubert  O'Grady. 

  A  Shindy  in  a  Shanty.    Irish  Farce. 

Queen's,  Dublin,  July,  1881. 

  Eviction.    An  Irish  Drama. 

Its  name  implies  its  nature. 


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-  The  Fairy  Finder ;  or,  Larry  and  the  Leprechaun. 
Irish  Drama  in  4  Acts. 

Queen's,  Dublin,  November,  1882,  with  the  author  as 
"  Larr\'."  (Sometimes  played  as  The  Gomrnoch.)  A  play 
built  on  popular  lines,  with  each  scene  punctuated  by  an 
exciting  episode.  Cast  :  12  males  and  2  females.  When 
the  piece  was  revived  at  the  Queen's,  in  November,  1885, 
the  author  again  appeared  as  The  Goinmoch^''  Larry,'*  and 
Frank  Breen  as  "  Mickey  Hickey,"  a  cadger. 

-  Emigration.   An  Irish  Comedy  Drama  in  3  Acts. 

A  popular  play,  full  of  incident  and  drollery.  The  second 
Act  takes  place  on  an  emigrant  ship.  Played  at  Queen's, 
Dublin,  in  November,  1885,  with  the  dramatist  as 
"  Hughey  "  and  Frank  Breen  as  "  Jerry  Naylor."  Cast  : 
14  males  and  3  females. 

-  The  Famine.  An  Irish  Drama  in  Prologue  and 
4  Acts. 

A  play  full  of  melodramatic  situations,  redeemed  by  Sadler, 
a  comic  character,  with  a  humorous  turn  of  phase  that 
never  deserts  him.  A  favourite  part  of  its  author's,  and 
one  on  which  his  fame  as  an  Irish  comedian  chiefly  rests. 
Played  for  the  first  time  on  anv  stage  at  the  Queen's, 
Dublin,  on  April  26th,  1886. 

-  The  Fenian.  A  Romantic  Irish  Drama  in  4  Acts. 

A  popular  drama  of  the  Fenian  times,  in  which  the  drama- 
tist played  the  role  of  "  Jack  Lynch,"  and  Shiel  Barry 
that  of  "  Barney  the  Barracker,"  when  the  piece  was  per- 
formed at  the  Queen's,  Dublin,  in  April,  1889.  Cast :  15 
males  and  4  females. 

■  The  Priest  Hunter.   Irish  Drama  in  4  Acts. 
Manchester  Queen's,  April  3rd,  1893. 

■  The  Outlaws.  A  story  of  Ireland  in  the  days  of 
Charles  II.   An  Historical  Drama  in  4  Acts. 

A  stirring  story  of  priest-hunting  and  outlawry.  Played 
at  Queen's,  Dublin,  in  December,  1901.  Cast :  12 
males  and  3  females. 


-  The  Wild  Irish  Boy.    A  Drama. 

Played  at  Queen's,  Dublin,  in  July,  1902. 


IRISH  PLAYS. 


•221 


Watson  (Dr.  J.  S.  W.).  The  Banshee's  SpelL  A 
Romantic  Comedy-Drama. 

Played  at  Theatre  Royal  aud  Opera  House,  Torquay,  May 
22nd,  1882. 

Cleary  (Thomas  Stanishius).      Shin-Fain;  or.  Our- 
selves Alone.    A  Drama  of  the  Exhibition.  By 
'^Tom  Telephone/^    (Dublin).  1882. 
Born  in  Dublin,  1851. 

O'CoNNELL  (Daniel).    The  Red  Fox.    An  Irish  Play. 
San  Francisco  (about  1882). 
O'Connell  was  born  at  Liscannor,  Co.  Clare,  in  1848. 

Murphy  (Michael  John).  Shawn  O'Dheer.  A  Play. 
^        The  Rose  of  Connaught.    A  Play. 

Murphy  was  born  in  the  city  of  Waterford  on  February 
18th,  1863,  and  was  taken  to  America  in  1865. 

Wallworth  (T.  a.),  music  by.   The  Maid  of  Glenda- 
lough.    Original  Opera  in  2  Acts. 
Based  on  the  composer's  Kevin's  Choice;  libretto  lay  Miss 
Hazlewood.    Produced  at  the  Adelphi,  London,  March  25th, 
1882.    Prince  of  Wales's,  London,  June  13th,  1899. 

Robinson  (J.).   Daniel  O'Connell.  Drama. 

First  played  at  Queen's,  Dublin,  on  August  14th,  1882. 

McClelland  (Harry).  Brian  the  Bold  !  And  the  Cork- 
Seeking  Brothers  !  or,  A  Pair  of  Braces  containing 
Two  Irish  Miles.  An  Irish  Burlesque,  with  Charles 
Sullivan  as  Miles  of  Corsica,"  and  Thomas 
Nemey  as    Miles  of  Dublin." 

Played  at  Queen's,  Dublin,  in  January,  1882. 

Fun  on  the  Bristol;  or,  A  Night  at  Sea.     A  Musical 
Comedy  in  3  Acts,  of  the  knockabout  order,  in 
which   the   principal    character   is    an  Irish- 
American  widow — Mrs.  O'Brien. 
Manchester  Theatre  Royal,  May  15th,  1882. 


222  GUIDE  TO  BOOKS   ON  IRELAND. 

Reece  (R.),  libretto  by,  and  Allen  (G.  B.),  music  by. 
The  Wicklow  Rose.   Irish  Gomic  Opera. 

Produced  at  Princes'  Theatre,  Manchester,  May  3rd,  1882. 

O'Connor  (T.).    The  Rent  Warner.    Drama  in  5  Acts. 
Produced  at  Theatre  Royal^  Limerick,  December  1st,  1882. 

Gordon    (W.) — arranged  by.     Eileen   Dhu.  Irish 
Drama. 

Played  at  Sefton  Theatre,  Liverpool,  June  26th,  1882. 

The  Wearing  of  the  Green.  Drama. 

Queen's,  Dublin,  June,  1882.  Played  by  Auguste  Creamer's 
Celtic  Comedy-Drama  Company. 

Donagh's  Romance.   Drama  in  3  Acts. 

Theatre  Royal,  Lincoln,  October  8th,  1888. 

Wilton  (Kate).  Pearl  Darrell.  Irish  Drama. 

Produced  at  Sefton  Theatre,  Liverpool,  September  17th, 
1883. 

The  Dhiuv  Gow.  A  Racing  Drama. 

Played  at  the  Queen's,  Dublin,  in  November,  1883,  with 
Charles  Sullivan  in  the  cast. 

King  O'Toole's  Goose,  His  Six  Sons ;  or,  Harelquin  Fin 
M'Coul  and  the  Fairies  of  Glendalough. 

Queen's,  Dublin,  December  26th,  1883.  Produced  under 
the  direction  of  Charles  Sullivan,  who  played  "  Brian 
O'Lynn."  (Pantomime.) 

Dr.  Paddy.    Comic  Drama. 

Lincoln  Theatre  Royal,  April  14th,  1884. 

Irish  Aristocracy.   American  Comedy. 

Theatre  Royal,  St.  Helen's,  June  2nd,  1884. 

Gomersall  (W.).   The  Boccagh.  Drama  in  3  Acts. 

Produced  at  Theatre  Royal,  Worcester,  August  4th ^  1884. 


IRISH  PLAYS. 


228 


Bishop  ( — ).   Banks  of  the  Boyne  Water.  Drama. 

Auckland  Theatre  Royal,  March  3rd,  1884. 

RowE  (G.  F,).  The  Donagh ;  or,  The  Rose  of  Killarney. 
An  Irish  Drama  in  3  Acts. 

A  drama  full  of  incident,  with  an  exciting  plot  and  plenty 
of  love  and  murder  in  it.  James  O'Brien  played  "  Lanty 
Killaby."  Performed  at  Queen's,  Dublin,  in  September, 
1885.    Cast  :  14  males  and  5  females. 

Capel  (George).    Link  o'  Gold.    A  Romantic  Drama 
in  3  Acts,  in  which  Henry  D.  Burton  doubled  the 
parts  of    Felix  O'Brien,''  an  Irish  gentleman,  and 
Steve  Gowrie,"  a  cripple,  at  the  Queen's,  Dublin, 
September  28th,  1885. 

Cast :  5  males  and  6  females. 

Turtle  Doves.   Farce  in  1  Act,  with  H.  D.  Burton  as 
"  Terry  O'Flanagan." 

Queen's,  Dublin,  October  2nd,  1885. 

^Hamilton  (Henry).      Harvest.      Play  in  Prologue 
and  3  Acts. 

The  plot  of  the  play  recalls  the  Yelverton  case  of  1859  and 
1861.  In  the  prologue,  a  youth — an  heir  to  a  baronetcy — 
forms  an  attachment  to  a  Scotch  lassie,  and  marries  her 
according  to  the  Scotch  law;  and,  tiring  of  her,  repudiates 
the  marriage.  In  the  play — which  takes  place  twenty 
years  after — the  youth  (now  a  baronet)  tries  to  repair  the 
,  wrong  done  his  discarded  Scotch  wife,  and  is  not  very 
successful  in  his  attempt.  The  scene  of  the  play  is  located 
in  and  about  a  Castle  in  Connemara,  and  some  Irish  char- 
acters are  included  in  the  cast.  Miss  Fanny  Brough 
enacted  the  role  of  a  lovely  young  Irish  girl.  Produced  at 
Princess's,  London,  September  18th,  1886. 

Pleon  (Harry).    Muldoon's  Picnic;  or,  Irish  Life  in 
America.    A  musical  hotch-potch  in  3  Acts. 

A  sort  of  knockabout  revel  for  "  stage  Irishmen."  Cast: 
10  males  and  3  females.  Marvlebone  (first  time  in  Lon- 
don),  November  f^h^  1886. 


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'•'Plays  by  J.  W.  Whitbread. 

  Shoulder  to   Shoulder.     A   Sensational  Irish 

Drama  in  4  Acts,  with  the  scene  laid  in  Dublin. 

First  production,  Queen's,  Dublin,  on  November  15th, 
1886.  Cast  :  11  males  and  3  females.  The  first  of  Whit- 
bread's  popular  Irish  plays  written  for  the  Queen's,  with 
James  O'Brien  as  "  Mike  Lynch,"  to  relieve  thrilling 
episodes  with  laughter. 

— —  The  Nationalist.    An  Irish  Drama  in  4  Acts. 

A  popular  play,  full  of  thrilling  incidents  relieved  by 
moments  of  comedy.  First  produced  at  Queen's,  Dublin, 
on  December  26th,  1891.  Cast  :  16  males  and  4  females. 
Afterwards  playe^l  under  the  title  of  A  True  Son  of  Erin. 

  The  Irishman.   An  Irish  Drama. 

Played  at  Queen's,  Dublin,  August,  1892. 

  The  Spectres  of  the  Past;  or,   Homeless  in 

the  Streets  of  Dublin.  A  Drama  and  Burlesque 
in  a  Prologue  and  3  Acts. 

An  Irish  drama,  with  a  pantomime  of  Cinderella  in  the 
centre  of  it.  The  latter  is  introduced  in  the  shape  of  a 
dream  of  a  homeless  girl  who  falls  asleep  in  the  streets. 
First  produced  at  Queen's,  Dublin,  on  January  30th,  1808. 
Cast  :  10  males  and  4  females. 

  The  Victoria  Cross.   Military  Drama  in  5  Acts; 

dealing  with  the  thrilling  scenes  leading  up  to  and 
attending  the  massacre  of  Cawnpore,  India. 

First  time  on  any  stage,  September  7th,  1896.  Queen's, 
Dublin.  Frank  Bren  filled  the  role  of  "  Andy  Cregan,"  a 
bit  of  true  grit. 

  Lord  Edward :  or,  '98.   A  Romantic  Irish  Drama 

in  6  Acts. 

This  drama  is  very  uneven — sometimes  quit^  poetic,  and 
at  others  melodramatic  or  farcical.  The  capture  of  Lord 
Edward  in  Act  4  is  the  most  dramatic  episode  in  the  piece. 
A  popular  patriotic  play  for  popular  audiences.  The  first 
of  a  series  of  romantic  dramas  founded  on  Irish  History, 
written  for  the  Queen's  Theatre,  Dublin,  by  this  dramatist. 
Only  suited  to  a  large  stage.  First  played  in  Dublin,  on 
March  22nd,  1894. 


llMSir  PLAYS. 


Theobald  Wolfe  Tone.  A  Romcniitic  Irish  Drama 
in  4  Acts. 

A  clever,  well-constructed,  patriotic  drama,  Avitb  cleverly 
introduced  comic  love-scenes,  that  added  to,  rather  than 
detracted  from,  the  many  well-conceived  situations  of  thi;^ 
stirring  plav.  First  produced  at  Queeirs,  Dublin,  on 
December  26th.  J898. 

Rory  O'More.   A  Drama  in  4  Acts. 

Founded  on  TiOver's  novel.  Full  of  broad,  rollicking 
humour.  A  big  cast,  and  much  sceuorv.  Fi^'^t  plaved  at 
Queen's,  Dublin,  April  ir)th,  1000. 

The  Ulster  Hero.  An  Irish  Historical  Drama  in 
6  Acts,  with  Henry  Joy  lEcCracken  as  its  hero 
and  '98  as  its  background. 

First  played  on  January  12th,  1902,  at  Queen's,  Dublin. 

The  Insurgent  Chief.  A  romantic  story  of  the 
County  Wicklow  in  '98,  in  5  Acts. 

An  interesting  and  exciting  play,  founded  on  the  incidents 
tb.at  clast-er  around  the  name  of  Michael  Dwyer.  First 
performed  on  March  31st,  1902,  at  Queen's,  Dublin.  Cast  : 
16  males  and  4  females. 

The  Sham  Squire.  A  dramatic  story  of  *98.  An 
Irish  Drama  in  4  Acts. 

Francis  Higgins,  the  Sham  Squire  of  unsavoury  memory, 
has  his  precious  deeds  recorded  in  highly-coloured  relief 
in  this  play.  First  plaved  at  Queen's  Theatre.  Dublin,  on 
St.  Stephen's  Day,  1903. 

Sarsfield  (A  story  of  tlic  Siege  of  Limerick.)  An 
Historical  Irish  Drama  in  -i  Acts.    Period,  1690. 

A  play  full  of  the  excitement  of  battle.  First  played  at 
Queen's,  Dublin,  ou  January  2nd,  1905.  Cast  :  7  males 
and  4  females. 

u 


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^         The  Irish  Drag(X^ii.   A  Eomantic  Irish  Drama  in 

4  Acts.    Adapted  from  Charles  Lever's  novel, 
Charles  O'Malley." 

A  real  jollv  and  exciting  setting  of  the  storv.  First  played 
at  Queen's,  Dublin,  St.  Stephen's  Day,  i905.  Cast  T 17 
males  and  5  females. 

  The  French  Huzzar.    A  Romantic  Irish  Drama 

in  5  Acts.     Founded  on  Charles  Lever's  novel, 
Tom  Bourke  of  Ours." 

A  rollicking  piece,  quite  after  the  manner  of  the  novelist's 
work.  First  played  at  Queen's,  Dublin,  on  December  24th, 
1906.    Cast :  15  males  and  5  females. 

Lloyd  (Arthur).     Bally vogan !     An  Irish  Drama  in 
4  Acts. 

Played  at  Queen's,  Dublin,  on  March  15th,  1897,  by  Arthur 
Llovd  and  Company,  and  first  produced  at  Newcastle- 
on-Tyne  Theatre,  July  25th,  1887. 

An  Irish  Elopement.   Farcical  Comedy  in  3  Acts. 
Manchester  Queen's,  April  11th,  1887. 

Lyster  (Fred.)  and  Sheridan  (John  F.).  Bridget 
O'Brien,  Esquire.   Farcical  Comedy  in  2  Acts. 

Opera  Comic,  London,  October  29th,  1887. 

]\rooRE  (Augustus  M.).     Charles  O'Malley.     A  Play 

founded  on  Levers  Novel  of  the  same  name. 

I  don't  think  it  was  ever  acted  or  published.  Edmund 
Downey,  in  a  note  to  me,  writes  : — "  Augustus  M.  Moore 
wrote  some  plays.  I  assisted  him  with  one  short  Irish  play 
which  I  don't  think  ever  saw  the  light.  He  also  read  to 
me  a  version  of  his  of  Charles  O'M alley.''  Moore  was 
born  in  Co.  Mayo  in  the  Fifties,  and  died  a  few  years  ago. 
George  Moore,  the  novelist,  is  a  brother  of  his. 


Magrath  (Anna  Jane).    Fardorougha,  the  Miser.  A 
Play  founded  on  Carleton's  Novel. 


IRISH  PLAYS. 


227 


^^^DowNEY  (Edmund),     F.  M.  Allen/'  Fardorougha. 

Drama  founded  on  William  Carleton's  Novel  of 
that  title. 

The  play  had  an  eventful  history.  Charles  Sullivan  had 
it  in  rehearsal  when  he  died.  Subsequently  Shiel  Barry 
carried  it  about  with  him  for  years,  and  eventually  told 
the  author  he  was  too  tired  to  study  a  new  and  difficult 
part.  So  the  drama  has  remained  in  manuscript  ever  since. 
It  was  written  in  the  Eighties.  Downey  was  born  in 
Waterford  in  ^.856,  and  is  accountable  for  25  works  of 
fiction. 

Upton  (William  C).    Cuchulain.    A  Dramatic  Poem. 
(Dublin).  1887. 

McFadden's  Flats.  An  absurdity  concocted  in  America 
for  consumption  in  the  States. 

Irish-Americans  say  they  don't  like  it,  but  Americans 
generally  seem  to — the  piece  is  always  "  on  the  road  "  out 
there.  To  quote  one  of  their  papers  on  the  piece — "  It 
doesn't  matter  whether  life  ever  was  really  as  funny  on 
the  East  Side  of  New  York  as  it  is  depicted  in  McFadden's 
Flats;  but  many  of  the  characters  are  taken  from  life  with 
exaggerations,  it  is  said."  The  chief  characters  are  Tim 
McFadden  and  Jacob  Baumgardner,  the  rival  politicians, 
who  fight  for  the  power  of  the  ward  they  represent  and 
for  the  love  of  Mrs.  Murphy,  the  ward's  youngest  widow. 

Pat,  the  Irish  Lancer.   Irish  Drama  in  3  Acts. 
Sadler's  Wells,  March  12th,  1888. 

Moss  (Hugh).   Bootle's  Baby.    A  Story  of  the  Scarlet 
Lancers,  in  4  Acts. 

"  Lieutenant  Paddy  Miles  "  is  one  of  the  characters.  Cast  : 
9  males  and  5  females.  Founded  on  John  Strange  Winter's 
novel.  Moss  was  born  at  Agra,  N.W.  Provinces,  India, 
JsTovember  30th,  1855.  Originally  produced  at  Globe,  Lon- 
don, May  8,  1888.  ' 

^^PiNERo  (Arthur  Wing).    Sweet  Lavender.    A  Play 
in  3  Acts. 

A  sweet  little  love  story,  with  a  genial  old  Irish  doctor  (Dr. 
Delaney),  who  "  thanks  goodness  it*s  no  business  of  mine," 


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each  time  something  unexpected  turns  up,  in  the  cast. 
Edward  Terry  made  poor  Dick  Phenyl,  a  broken-down, 
good-hearted,  old  barrister,  in  this  play,  famous.  Originally 
produced  at  Terry's  Theatre,  London,  in  1888.  Cast  :  7 
males  and  4  females.  Pinero  is  a  native  of  London,  where 
he  w^as  born  on  May  24th,  1855.  He  is  considered  the 
leading  English  dramatist  of  his  day. 

£  s.  d.    A  Realistic  Drama  in  3  Acts. 

The  play  is  about  a  gang  of  coiners,  and  contains  an  Irish 
character — Sergeant  0 'Toole."  Queen's,  Dublin,  April 
23rd,  1888.    Cast  :  15  males  and  4  females. 

Murphy  (Mrs.  Louisiana).  Diinmore;  or,  the  Da^^s  of 
the  Land  League.  An  Irish  dramatic  episode  of 
our  own  times  in  verse.    (Dublin).  1888. 

Mrs.  Murphy  was  born  in  Dublin.  She  is  the  daughter  of 
Mr.  Hugh  Keegan,  an  Ulster  man,  who  acted  as  the  United 
States  Consul  for  Dublin  and  Cork  for  a  time. 

The  Soggarth !  A  Romantic  Irish  Drama,  in  a  Pro- 
logue and  4  Acts. 

Founded  on  the  ballad  of  Father  Boche,  by  Samuel  Lover, 
in  which  a  priest's  lips  are  sealed  by  confession,  though 
he  sees  an  innocent  man  about  to  suffer  death  for  the 
crime.  However,  the  seal  is  lifted  from  him  just  in  the 
nick  of  time,  and  the  guilty  one  meets  with  his  just  re- 
ward. An  interesting  play,  full  of  dramatic  incident. 
Played  at  Queen's,  Dublin,  in  June,  1888.  Cast  :  12  males 
and  8  females. 

Irish  Eyes.  Comedietta. 

Produced  at  Kalso  Corn  Exchange  Hall,  January  4th,  1889. 

Roach  (James  C.)  and  Knox  (J.  Armoy).  Shane-na- 
Lawn.   An  Irish  Comedy-Drama  in  3  Acts. 

Played  for  the  first  time  in  Dublin,  at  the  Gaiety,  on  May 
6th,  1889,  with  W.  J.  Scanlan  in  the  title  role  (with- songs 
galore,  including  "  Peek-a-Boo.")  The  scene  is  laid  in 
L'eland  in  1790.    Cast :  10  males  and  4  females. 

CoNYERs  (F.  N.).  Wexford.  Irish  Melodrama  in  4 
Acts. 

Wolverhampton  Star  Theatre,  June  17th,  1889. 


IRISH  PLAYS. 


229 


The  Nineties. 

Mackey  (Feiilon)  and  Denbigh  (Louis).   The  Life  we 
Live.   Drama  in  5  Acts. 

A  play  full  of  exciting  incidents,  such  as  "  Burning  Mills." 
(Note— The  audience  are  requested  to  keep  their  seats. 
In  spite  of  the  intense  realism  of  this  scene,  there  is 
absolutely  no  danger.)  Terry  O'Dowd  is  the  Irish  char- 
acter in  this  piece.  Queen's,  Dublin,  January  22nd,  1890. 
Cast  :  15  males  and  5  females. 

The  Gombeen's  Gold ;  or,  Creeping  Shadows.   A  Drama 
in  5  Acts. 

A  popular  piece,  in  which  one  of  the  characters — Teddy 
Delany — is  called  upon  to  assume  five  distinct  disguises. 
Played  at  Queen's,  Dublin,  April,  1890.  Cast  :  10  males 
and  3  females. 

Segar  (R.  F.).   Modern  Ireland.  Drama. 

Bacup  Theatre  Royal,  September  13th,  1890. 

Reynolds  (Walter).  Sweet  Innisf ail.  An  Irish  Drama 
in  4  Acts. 

A  typical  Irish  play,  built  on  Boucicault's  lines — a  story 
of  true  love  that  did  not  run  smooth.  The  chief  part  is 
that  of  "  Denny  Doon,"  a  slip  of  a  boy  with  more  heart 
than  head,  more  humour  than  spite,  and  more  love  than 
all.  The  dramatist  impersonated  this  role  when  the  piece 
was  performed  at  the  Queen's  in  December,  1890.  Cast  : 
13  males  and  5  females. 

  The  Sprissaun.    Irish  Drama. 

  The  Shamrock  and  the  Rose.     An  Irish  Drama 

in  4  Acts. 

Many  of  the  incidents  are  grotesque,  and  if  modified 
would  improve  it  immensely,  and  make  it  an  acceptable 
drama  of  its  kind — the  popular  highly-coloured  kind.  Suit- 
able for  a  large. stage. 

On  the  I 'rentier.   Melodrama  in  6  Acts  (American). 

A  stirring  drama,  full  of  existing  incident,  with  some 
"  comic  "  Irish  characters  in  cast.  Liverpool  Shakespeare 
Theatre,  March  20th,  1891. 


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O'Dowd's  Neighbours. 

A  variety  farce,  in  which  two  elderly  Irishmen  make  love 
to  a  pretty  widow.  One  of  them  gives  a  masquerade  ball 
in  her  honour,  and  at  the  time  of  unmasking  it  is  dis- 
covered that  the  widow  has  become  the  affianced  wife  of 
a  son  of  one  of  the  older  suitors.  The  piece  is  of  the 
knockabout  order  of  stage  Irishman  type.  Produced  at 
the  Windsor  Theatre,  New  York,  April  20th,  1891.  Cast  : 
7  males  and  4  females. 

rRENCH  (W.  Percy)  and  Collisson  (W.  Houston).  The 
Knight  of  the  Road.    A  Comedy-Opera  in  3  Acts. 

Time,  1798.  Music  by  W.  Houston  Collisson,  libretto  by 
W.  Percy  French.  A  romantic  story  of  "  Freeney,"  a 
knight  of  the  road,  and  his  love  for  the  fair  "  Kathleen 
O'Hara."  Cast  :  6  males  and  6  females.  First  played  at 
Queen's,  Dublin,  on  April  27th,  1891.  French,  like 
Samuel  Lover,  is  an  entertainer,  song  writer  and  artist, 
and  Collisson  is  a  Doctor  of  Music  as  well  as  a  clergyman 
of  the  Church  of  England. 

 and  Collisson  (W.  Houston).    Strongbow;  or, 

The  Bride  of  the  Battlefield.  An  Irish  Comedy- 
Opera  in  3  Acts. 

Music  by  W.  Houston  Collisson,  libretto  by  W.  Percy 
French.  Cast  :  8  males  and  9  females.  First  played  at 
Queen's,  Dublin,  on  May  2nd,  1892. 

Sullivan  (J.  P.).   Leaves  of  Shamrock.   A  Romantic 
Irish  Comedy-Drama  in  5  Acts. 

A  story  of  love  and  villainy,  sweetened  by  the  merry  sing- 
ing and  taking  ways  of  "  Carroll  Daly,"  a  part  filled  by  the 
dramatist.  Played  at  Queen's,  Dublin,  in  October,  1891. 
Cast  :  7  males  and  2  females. 

GuRNEY  (Edmund).  Glendalough.  An  Irish  Romantic 
Drama  in  4  Acts. 

Sandy  Nagle,  a  rascally  bailiff  in  the  service  of  Lord  Mont- 
gomery, hates  Terence  0 'Toole,  a  young  farmer,  like 
poison;  and  tries  to  direct  his  master's  attention  to  Kitty 
O'Connor,  the  colleen  whom  Terence  hopes  to  call  his 
own  one  day.  Nagle  murders  his  wife  and  hides  away 
his  daughter,  and  during  the  wedding  festivities  of  Terence 


IRISH  PLAYS. 


231 


and  Kitty  he  accuses  the  former  of  murdering  his  child. 
Terence  is  arrested,  but  escaping  from  gaol  finds  the  miss- 
ing  girl  and  confounds  Nagle,  who  makes  himself  scarce, 
and  happiness  looms  ahead  for  Terence  and  his  colleen. 
Produced  at  Queen's  Theatre,  Manchester,  December  14th, 
1891.  Cast :  10  males  and  5  females.  Thomas  Nerney  was 
*'  Sandy  Nagle  "  in  the  original  cast. 

Manning  (W.).   My  Native  Land.   An  Irish  Drama. 

A  young  farmer  wins  from  a  wealthier  rival  the  girl  they 
both  desire.  Bad  seasons  have  impoverished  him,  and  his 
rent  becomes  in  arrears.  His  rival  in  love  gets  the  land- 
lord to  evict  him,  and  the  farmer  is  gaoled  for  offering 
resistance.  In  his  absence  the  landlord  makes  love  to  his 
wife,  and  on  his  release  he  and  the  landlord  meet,  and  in 
the  scuffle  the  pistols  accidentally  go  off  and  the  landlord 
falls.  The  farmer  thinks  he  has  slain  him  and  goes  into 
hiding.  While  there  he  learns  that  a  large  fortune  has 
been  left  to  him,  but  his  rival  contrives  to  get  possession 
of  the  papers,  and  impersonates  him  for  a  time,  till  the 
other's  identity  is  proven,  and  he  leaving  Ireland  goes  to 
America.  Produced  at  the  Theatre  Royal^  Coatbridge, 
October  29th,  1891.    Cast  :  15  males  and  4  females. 

'^BuRNAND  Reeve,  Audran.  Miss  Decima.  English 
libretto  by  Sir  F.  C.  Burnand;  lyrics  by  Percy 
Reeve;  music  by  E.  Audran.  Operatic  Comedy  in 
3  Acts  (from  the  French). 

Scene — Switzerland.  When  the  piece  was  first  produced 
in  English  at  the  Criterion,  London,  on  July  23rd,  1891, 
Chauncey  Olcott  appeared  as  "  Chevalier  Patrick  Julius 
O'Flanigan."    (Adapted  from  Miss  HelycU  of  Boucheron). 

Gran-u-Aille.  Patriotic  Sketch. 

Novelty,  London,  March  25th,  1891. 

Robertson  (Miss  Le  Fanu).  A  Daughter  of  Erin. 
An  Irish  4-Act  Comedy. 

A  merry  comedy,  in  which  two  ladies  masquerade  as  two 
village  maidens,  and  meet  with  many  adventures,  and  their 
"  fates  "  at  the  same  time.  First  production.  Theatre 
Royal,  Dublin,  August  19th,  1891.  Cast  :  10  males  and  5 
females. 


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GUIDE  TO  BOOKS   ON  IRELAND. 


McCarthy  (Daniel).    Cruiskeen  Lawn      A  Comedy- 
Drama  in  6  Acts. 

Valuable  papers  hidden  in  a  cruiskeen  play  an  important 
part  in  the  devlopment  of  the  plot.  Evictions,  hard  land- 
lords, and  all  the  usual  ingredients  of  old-fashioned  Irish 
drama  is  to  be  found  herein.  "  Dublin  Dan,"  a  faithful 
servant,  is  ever  the  right  man  in  the  right  place,  and  saves 
his  master  and  family  from  the  clutches  of  Silas  Stone, 
the  bold,  bad  man  of  the  play.  Produced,  Jacob's 
Theatre,  New  York,  August  22nd,  1891.  Cast  :  6  males 
and  4  females. 

Roberts   (George)  and  Monkiiouse  (Harry).  Pat. 
An  Irish  Musical  Comedy-Drama  in  3  Acts. 

An  impecunious  Squire  hopes  to  win  the  love  of  an  heiress 
to  set  himself  financially  on  his  feet  again,  but  finds  she  is 
already  loved  and  loves  a  young  fellow,  who  is  generally 
supposed  to  be  a  peasant,  but  is  not.  The  Squire  tries  to 
put  them  asunder,  but  in  the  end  all  promises  well  for  the 
future  happiness  of  the  young  couple.  One  of  the  scenes 
is  laid  in  England.  First  played  at  the  Artillery  Theatre, 
Woolwich,  November  16th,  1891.  Cast  :  4  males  and  5 
females.    (Lyrics  by  Mark  Ambient  and  Frederick  Wood). 

Vane  (Sutton).   Terry;  or,  True  to  his  Trust.   A  Play 
in  1  Act. 

The  plot  centres  round  a  racehorse  owned  by  Farmer 
Doyle,  who  is  in  monetary  difficulties,  and  hopes  to  recoup 
himself  by  his  horse  winning  a  coming  race.  The  horse 
is  under  the  charge  of  Terry  Burke,  who  loves  the  farmer's 
daughter;  but  a  Major  who  has  a  strong  interest  in  the 
horse's  failure  tries  to  bribe  Terry  and  get  at  the  horse. 
Terry  pretends  to  consent,  and  gets  from  the  Major  an 
acquittance  of  the  money  owed  to  him  by  his  master. 
On  being  outwitted  the  Major  tries  other  means  of  getting 
into  the  stable ;  and  he  and  Terry  ultimately  have  a 
struggle,  in  which  Terry  is  shot,  and  ere  he  dies  gives 
the  Major's  acquittance,  tliat  relieves  her  fatlier  of  all  his 
troubles,  to  the  girl  of  his  heart.  First  performed  at  the 
Parkhurst  Theatre,  London,  on  April  27th,  1891.  Cast  : 
2  males  and  1  female. 

Clark  (C.  A.).  Trust  to  Luck.   A  Drama  in  Prologue 
and  3  Acts. 

The  prologue  tells  how  a  rebel,  under  sentence  of  death, 
escapes  gaol  and  is  informed  on,  but  evades  his  pursuers. 


IRISH  PLAYS. 


233 


In  after  years  his  daughter  is  sought  by  two  suitors — a 
true-hearted  fellow,  and  the  villain  of  the  piece.  The  latter 
is  forcing  his  attentions  on  her  when  her  father  again 
comes  on  the  scene,  foils  the  villain's  designs,  but,  alas, 
is  re-arrested.  Fortunately,  ere  his  life  is  forfeit,  a  re- 
prieve arrives,  and  the  villain  is  accidentally  shot.  Pro- 
duced at  the  New  Theatre,  Newport,  Monmouthshire, 
April  27th,  1891.    Cast  :  9  males  and  4  females. 

Forbes  (Hon.  Mrs.)  and  Wiiitbread  (J.  W.).  All 
Hallow's  Eve.   An  Irish  Comedy-Drama. 

First  production,  Queen's,  Dublin,  April  20th,  1891.  An 
interesting  play,  full  of  romance  and  excitement. 

Mill  (John),  libretto  by,  and  Bruske  (Jacques),  com- 
posed by.  Hearts  of  Erin.  Romantic  Operatic 
Play  in  4  Acts. 

Produced,  Palace  Theatre,  Newcastle-on-Tvne,  February 
10th,  1892. 

Smith  (S.  Theyne).  Mrs.  Hilary  Regrets.  Comedietta. 

Criterion,  London,  June  21st,  1892.  Sir  Charles  Wyndham 
has  frequently  filled  the  role  of  ihe  Irish  Doctor — "  Dr. 
Power  " — in  this  bright  little  trifle. 

Overton  (Charles)  and  Moss  (Hugh).  Strathlogan. 
Modern  Irish  Drama. 

Produced,  Princess's,  London,  June  9th,  1892. 

Woods  (Dr.  Robert  H.)  and  Wilson  (C.  W.).  Botany 
Bay. 

The  College  1-Act  Play  (specially  written  for  the  Tercen- 
tenary Celebrations).  Time,  the  present.  Scene,  Messrs. 
Key's  rooms,  Trinity  College.  Cast  :  6  males  and  1  female. 
Performed  at  Gaiety,  Dublin,  July,  1892. 

MooRE  (Frankfort).  Oliver  Goldsmith.  Play  in  1  Act. 

Produced,  Theatre  Royal,  Limerick,  June  24th,  1892.  ^Mr. 
Moore  is  a  Limerick  man.    He  was  born  in  May,  1855. 


234 


GUIDE  TO  BOOKS   ON  IRELAND. 


Selden  (Edgar).  M'Kenna's  Flirtation.  Hilarious 
Farce  in  3  Acts. 

Produced,  Opera  House,  Coventry,  August)  1st,  1892. 

Smith  (Lita).   Bridget's  Blunders.  Farce. 

Produced,  Devonshire  Park  Theatre,  Eastbourne,  August 
5th,  1892. 

Gould  (Fred).  The  Father's  Oath.  An  Irish  Drama 
in  4  Acts. 

Another  play  founded  on  Samuel  Lover's  ballad,  Father 
Roche.  An  effective  version  of  the  story,  with  a  good 
Irish  comedy  part,  "  Larry  Doolahan."  Played  by 
Chalmers  Mackey  at  Queen's,  Dublin,  in  December,  1899. 
Cast  :  10  males  and  5  females.  The  same  plot  is  woven 
into  George  R.  Sims  and  Robert  Buchanan's  effective 
drama.  The  English  Rose,  with  excellent  results.  First 
played  at  Glasgow  Princess's,  October  24th,  1892. 

The  Indian  Mutiny.  A  Drama  in  5  i^cts.  (New 
Version). 

An  exciting  play.  The  part  of  "  Terry  O'Brien,"  the 
Captain's  body-servant,  was  filled  by  John  McElroy. 
Queen's,  Dublin,  September  21st,  1896.  Cast  :  13  males 
and  o  females.  Originally  played  at  Burnlev,  December 
24th,  1892. 

'•T^ELissiER  (W.  Harvey),  B.A.,  T.C.D.,  written  and 
composed  by.  Connla  of  the  Golden  Hair. 
Cantata. 

Produced  at  the  Feis  Ceoil,  1903. 

The  Irish  Land  Agent.  Irish  Drama  in  3  Acts  (pro- 
duced by  amateurs). 

St.  Ann's  Hall,  Aston-under-Lyne,  May  o;h,  1893. 

Mavourneen.    A  Play,  with  musical  selections. 

Chauncey  Olcott  toured  the  United  States  in  this  piece 
in  1893. 


IRISH  PLAYS. 


236 


Dance  (George),  written  by;  Crook  (John)  and  Jones 
(Guy),  music  by.  The  Lady  Slavey.  A  MusicaJ 
Farce  in  2  Acts, 

in  which  the  eldest  daughter  of  an  impecunious  Irish 
major  plays  the  humble  role  of  "  slavey  "  in  her  father's 
household  during  a  visit  of  a  wealthy  young  American, 
and  the  torch  of  love  is  kindled  in  his  heart  for  her,  and 
all  ends  happily.  Cast  :  5  males  and  6  females.  North- 
ampton Opera  House,  September  4th,  1893. 

Mahoney  (Richard).  Eileen  Alannah ;  or.  The  Outlaws 
of  the  Glen.    Irish  Drama  in  4  Acts. 

Produced  at  Myddleton  Hall,  Islington,  London,  Septem- 
ber  5th,  1893. 

Patmore  (W.  J.).   Sons  of  Erin.   Drama  in  4  Acts. 

Surrey,  London,  September  11th,  1893. 

Ward  (Montague  A.)  and  Adye-Curran  (Georgina). 
The  Fisherman's  Daughter.  A  Modern  Irish 
Comedy-Opera  in  3  Acts. 

Music  by  Georgina  Adye-Curran,  libretto  by  Dr.  Montague 
A.  Ward.  Scene  is  laid  in  Galway.  Cast  :  9  males  and  6 
females.  First  played  at  Queen's,  Dublin,  on  November 
13th,  1893. 

BoGUE  (J.  R.).  O'Holligan's  Holiday.  Farcical 
Comedy  in  4  Acts. 

West  Stanley,  Victoria,  February  12th,  1894. 

Plays  by  Augustus  Pitou. 

  and  Jessop  (George  H.).    The  Irish  Artist.  A 

Play  in  4  Acts. 

Produced  at  the  Fourteenth  Street  Theatre,  New  York, 
in  1894,  with  Chauncey  Olcott  as  "  Maurice  Cronin." 

  Sweet  Inniscarra.   A  Play  in  4  Acts. 

Produced  at  the  Fourteenth  Street  Theatre,  New  York, 
in  1897,  with  Olcott  as  "  Gerald  0 'Carroll." 


23G 


GUIDE  TO   BOOKS   ON  IRELAND. 


  A  Romance  of  Atliloiie.    A  Play  in  4  Acts. 

Produced  at  the  Fourteenth  Street  Theatre,  New  York, 
1899,  with  Olcott  as  "  Dick  Ronyane." 

  Garret  O'Magli.    A  Play  in  4  Acts,  with  songs 

interspersed. 

Produced  at  the  Fourteenth  Street  Theatre,  New  York, 
1901,  with  Olcott  in  the  title  role. 

"'GuiNAN  (John).     Kustic  Rivals.  '   A  1-Act  Comedy. 
(1905). 

Publislied  in  a  special  number  of  the  Weekly  Freeman 
St.  Patrick's  Day,  1906,  but  never  yet  acted. 

''Potter  (^Paui  M.)  Trilby.-  APlay  in  4  Acts — drama- 
tised from  George  du  Maurier's  novel. 

The  scene  of  the  play  is  laid  in  Paris — mostly  in  the  Latin 
Quarter — and  the  heroine — "  Trilby  O'Ferrall  " — is  of  Irish 
descent.  II.  Beerbohm  Tree  made  one  of  the  acting  suc- 
cesses of  his  life  as  "  Svengali,"  and  Dorothea  Baird  rose 
to  fame  as  "  Trilby."  Played  at  the  Gaiety,  Dublin, 
October,  1895.  Cast  :  11  males  and  7  females.  Originally 
played  at  Manchester  Theatre  Royal,  September  7th,  1895. 
Mr.  Potter  was  born  at  Brighton,  England,  June  3rd,  1852. 

Harvey  (F.).    The  Shebeen.    Play  in  1  Act. 

Produced,  Harvey  Institute,  Folkestone,  May  5th,  1896. 

■^"Stanford  (^Sir  Charles  Villiers).  music  by;  and 
Jessop  (George  H.),  libretto  by.  Shemas  O'Brien. 
An  Irish  Opera  in  3  Acts. 

Founded  on  Sheridan  Le  Fanu's  famous  ballad.  A 
spirited  operatic  setting  to  a  stirring  '98  story.  The  roles 
of  hero  and  informer  were  made  famous  by  Denis 
O 'Sullivan  and  Joseph  O'Mara  respectively.  First  played 
at  Opera  Comique,  London,  on  March  2nd,  1896. 

Marsden  (Fred.).  The  Minstrel  of  Clare.  A  Comedy- 
Drama. 

'    Produced  at  the  Fourteenth  Street  Theatre,  New  York, 
in  1896,  with  Chauncey  Olcott  as  the  Minstrel." 


IRISH  PLAYS. 


237 


Strange  (Stanislaus),  libretto  by;  and  Edwards 
(Julian),  music  by.  Brian  Boru.  Romantic 
Opera  in  3  Acts. 

Produced,  Broadway,  New  York,  October  19tli,  1896. 

Patmore  (W.  J.).   The  Brine  Oge.   Drama  in  4  Acts. 

Dewsbury  Theatre  Royal,  May  6th,  1896.  (Copyright  per- 
formance). 

Sheridan,  etc.  A  Trip  to  Chicago.  Libretto  by  John 
F.  Sheridan;  additions  and  lyrics  by  John  S. 
Haydon;  music  composed  and  arranged  by  W. 
Carlile  Vernon  and  Felix  Lennon.  Musical  Comedy 
in  2  Acts. 

The  chief  character  in  the  piece  is  "  Mrs.  Johanna 
Murphy,"  a  wealthy  Irish  lady,  sent  for  by  her  daughter 
to  make  peace  in  the  family.  Played  at  the  Queen's, 
Dublin,  September  20th,  1897.  Cast  :  6  males  and  8 
females.  Produced  in  American  Vaudeville,  August  5,  1896. 

Costello  (Mary).  A  Bad  Quarter  of  an  Hour.  A 
Comedietta  in  1  Act. 

Scene  :  An  Irish  Railway  Station.  A  crisply  and  brightly- 
written  little  episode,  with  Frank  Breen  as  a  cheerful 
porter  and  big  Mrs.  Glenville  as  "  Mrs.  Murphy."  Played 
at  Queen's,  Dublin,  on  August  31st,  1896.  Miss  Costello 
is  a  native  of  Kilkenny. 

  The  Coming  of  Aideen.     A  Play  in  1  Act. 

The  theme  is  two  maids  aud  a  man.  The  man  is  a 
young  poet  and  idealist  who  has  loved  from  his  boyhood. 
Aideen,  who  left  him  to  go  to  America,  where  she  weds 
and  loses  her  husband.  The  poet  ever  dreams  of  his 
early  love,  though  his  secretary,  Mary  Martin — an  artless 
little  miss — has  set  her  cap  at  him.  Aideen  returns  to 
Ireland,  but  her  manner  has  changed  in  the  meantime, 
and  the  poet  is  completely  disillusioned,  and  weds  Mary 
in  the  end.  It  is  a  pretty  little  piece,  containing  live  char- 
acters (2  male  and  3  female).  The  scene  is  laid  at  Drum- 
condra,  Dublin.  First  played  at  the  Irish  Theatrical  Club, 
Dublin,  on  May  18th,  1910. 


238 


GUIDE  TO  BOOKS   ON  IRELAND. 


Matthews  (Edward  0.).  Rogue  Riley;  or,  The  Four 
Leaved  Shamrock.   An  Irish  Drama  in  3  Acts. 

The  title  role  was  filled  by  the  dramatist  in  genial  way, 
so  as  to  lighten  the  gloom  of  its  more  dramatic  moments. 
Played  at  Queen's,  Dublin,  in  June,  1896.  Cast  :  14 
males,  5  females,  and  1  child.  Originally  played  at  Aber- 
deen, His  Majesty's  Theatre,  February  26th,  1894. 

  The  Wearin'  o'  the  Green.      A  Domestic  Irish 

Drama  in  3  Acts. 

A  story  laden  with  love  and  murder.  First  played  at 
Queen's,  Dublin,  June  22nd,  1896.  Cast  :  10  males  and  5 
females. 

Bateman  (Frank)  and  Douglas  (John.  A  Bunch  of 
Shamrocks.  Drama. 

Produced,  Royalty,  Edinburgh,  June  2nd,  1896. 

Howard  (Walter).  Wearing  of  the  Green-  Irish 
Opera  Comedy-Drama  in  4  Acts. 

Workington  Theatre  Royal,  August  1st,  1896. 

 ■  and  Mackey  (Chalmers).      The  Wearin'  o'  the 

Green.     An  Irish  Drama  in  4  Acts. 

A  well-constructed,  consistent,  and  ver^^  interesting  drama 
of  the  Boucicaultian  type,  with  the  scene  of  action  laid  in 
Killarney  in  the  troublous  times,  when  agents  murdered 
their  masters  and  laid  the  crimes  on  innocent  peasant 
lads.  A  stirring  drama,  full  of  humour.  Played  at  the 
Queen's,  Dublin,  in  July,  1898.  First  produced  at 
Workington  Theatre  Royal,  August  7th,  1896. 

*Cassidy  (James  Rice).  Hearts  o'  the  West !  (A  tale 
of  the  Cornish  Coast).  Drama  in  4  Acts,  in  which 
the  author  doubled  the  parts  of  Brian  O'Hagan,'' 
a  steward,  and  "  Ikey  Levenstein,"  a  Jew  peddler. 

Played  at  the  Queen's,  Dublin,  June  14th,  1897.  Cast  : 
13  males  and  4  females.  First  played  at  Darwin  Theatre 
Royal,  December  3rd,  1896, 


IRISH  PLAYS. 


239 


Gilbert  (Lewis).  The  Penalty  of  Crime.  A  Sensa- 
tional Drama  in  4  Acts,  in  which  Johnny  Chippen- 
dale appeared  as  Mickey  O'Reilly,"  a  nian-o*- 
war's  man. 

Queen's,  Dublin,  June  13th,  1898.  Cast  :  11  males  and  3 
females.  First  performed  at  Devenport  Metropole,  Novem- 
ber 2nd,  1896. 

Leonard  (Herbert),  The  Girl  of  My  Heart;  or,  Jack 
Ashore.     A  Naval  and  Military  Drama'  in  4  Acts. 

Scene  laid  at  Portsmouth.  The  part  of  "  Private  Tim 
Hooley,"  of  the  Marine  Light  Infantry,  was  played  by 
Robert  Symes.  First  visit  to  Dublin,  Queen's,  December 
12th,  1898.  Cast  :  17  males  and  7  females.  First  played 
at  Surrey,  December  21st,  1896. 

'•''Rita  (Mrs.  Desmond  Humphreys)  and  Grey  (Alan). 
Peg  the  Rake.  Founded  on  the  novel  of  the 
same  name). 

Produced,  Bayswater  Bijou,  October  2oth,  1897. 

Maeder  (F.)  and  Vernon  (C).    Shamus  O'Brien,  the 
Bould  Boy  of  Glengall.  Melodrama. 
Produced,  West  London,  April  26th,  1897. 

*Plays  by  Theodore  Burt  Sayre. 
■         Charles  O'Malley.  Play. 

Produced  in  America  in  1897.  Savre  was  born  in  New 
York  City,  1874. 

  Tom  Moore.    A  Play  in  4  Acts. 

First  produced  on  Au^^ust  31st,  1901,  at  Herald  Square 
Theatre,  New  York.  It  tells  the  story' of  the  love  of  Tom 
Moore,  the  poet,  for  pretty  Bessie  Dyke;  and  is  full  of 
comedy  interest.  There  are  quite  a  number  of  characters 
in  the  cajrt,  so  that  it  could  be  played  only  in  a  large 
theatre. 


The  Bold  Soger-Boy.  Play. 
Produced  in  America  in  1903. 


•240 


GUIDE  TO   BOOKS   ON  IRELAND. 


  Edmund  Burke.  Play. 

Produced  at  the  Majestic,  New  York,  with  Chauncey 
Olcott  in  the  title  role,  October  2nd,  1905. 

  Eileen  Asthore.    A  Musical  Plaj^  in  4  Acts. 

Produced  at  Saratoga,  U.S.A.,  on  August  17th,  1906,  with 
Chauncey  Olcott  as  "  Richard  Temple.'' 

Shaft  No.  2.  American  Drama  in  4  Acts,  with  new 
electrical  effects,  including  the  electrocution  chair. 

Teddy  O'Rourke  "  and  his  wife,  "  Judy,"  were  played 
by  Charles  P.  Cooke  and  Eleanor  Reardon.  Queen's, 
Dublin,  November  8th,  1897.  Cast':  lo  males  and  3 
females.  Originally  plaved  at  Gateshead  Metropole,  April 
19th,  1897. 

The  Black  Hawks  !  An  American  Drama  in  4  Acts, 
with  scene  laid  in  America. 

A  thrilling  series  of  adventures  with  a  lawless  gang  of 
men.  Mike  M' Bride,*'  the  Irish  character  in  the  piece, 
is  a  foe  to  the  Hawks.  Queen's,  Dublin,  May  10th,  1897. 
Cast  :  11  males  and  3  females. 

Murray  (David  Christie)  and  Shine  (John  L.).  An 
Irish  Gentleman.    An  Irish  Drama  in  3  Acts. 

The  plot  breaks  away  from  the  conventional  type.  A 
yoimg  Squire,  addicted  to  drink,  loves  a  pretty  young 
heiress,  and  is  loved  by  her  in  return,  but  she  declines  to 
marry  him  until  he  gives  up  the  drink,  which  he  promises 
to  do,  and  keeps  his  word.  A  rival  for  her  hand  drugs 
him,  and  his  loved  one  thinks  he  has  broken  his  yow.  In 
the  end  she  discovers  he  hasn't,  and  all  is  well.  The 
drama  was  plaved  at  the  Theatre  Royal,  Dublin,  in  July, 
1898.    First  played  at  Globe,  London,  June  9th,  1897. 

Art  (H.).  Finnigan's  Fortune.  Musical  Comedv  in 
3  Acts. 

Produced,  Hartc  s  Theatre,  Openshaw,  June  12th,  1897. 

Redgrove  (RojO,  libretto  and  lyrics  by;  Turner 
(Montague),  additional  lyrics  by;  and  Walker  (G. 
Oastlere),  music  by.  Lord  Dunnohoo.  Comic 
Opera. 

Produced,  Theatre  Royal,  Aldershot,  July  5th,  1897. 


IRISH  PLAYS. 


241 


Carlyle  (Rita).  Falsely  Accused.  A  Domestic  Sensa- 
tional Drama  in  4  Acts. 

The  first  and  second  Acts  are  laid  in  Ireland;  the  others, 
out  West.  C.  Guilfovle  Seymour  enacted  the  role  of 
"  Brian  O'Donohue."  The  piece  contains  several  other 
Irish  characters.  Queen's,  Dublin,  November  15th,  1897. 
Cast :  18  males  and  8  females.  First  played  at  Pavilion, 
London,  July  5th,  1897. 

*LoRNE  (Marquis  of),  libretto  by),  and  M'Cun::^ 
(Hamish),  music  by.  Diarmid.  Opera  in  4  Acts 
(founded  on  the  Celtic  legend  of  Dermot  and 
Grania). 

Co  vent  Garden,  London,  October  23rd,  1897. 

 libretto  by,  and  Drysdale  (F.  Learmont),  music 

by.  Fionn  and  Tara.  An  Opera  in  2  Acts. 
Period,  The  Second  Century.  Scenes  laid  in  Erin  and 
Carthage.  The  problem  is  that  of  two  women  and  a  man. 
The  dramatis  personce  are  : — Fionn,  Celtic  Chief  of  the 
Fienne;  Grania,  daughter  of  King  Cormac;  Tera,  a  Greek 
maiden;  and  a  Soldier  of  the  Fienne.  The  composer  died 
before  he  orchestered  the  work.  Oscar  Hammerstein  in- 
tends producing  the  Opera  in  the  spring  of  1912  at  London 
Opera  House.  The  author  is  now  Duke  of  Argyll.  David 
Stephens,  of  Edinburgh,  orchestered  the  Opera. 

Coleman  (John).  Soggarth  Aroon.    Drama  in  4  Acts. 

Produced,  Grand  Theatre,  Birmingham,  November  29th, 
1897. 

Bond  (Stephen).   Bantry  Bay.    Play  in  1  Act. 

Surrey,  London,  December  17th,  1897. 

*SiMS  (George  R.)  and  Corri  (Clarence  C).  The 
Dandy  Fifth  (5th  Royal  Irish).  A  Military  Comic 
Opera  in  3  Acts.  Founded  on  the  same  play  as 
The  Queen's  Shilling. 

The  antics  of  "  Sergeant-Major  Milligan  "  created  ,a  "  big 
row"  at  the  Royal,  Dublin,  on  the  first  night  of  its  pro- 
duction there  on  Monday,  April  llth,  1902.  Cast:  8  males 
and  4  females.  First  played  at  Birmingham  Prince  of 
Wales,  April  11th,  1898. 

s 


242  GUIDE  TO  BOOKS   ON  IRELAND. 

Whitlock  (Charles).  The  God  of  War.  A  Romantic 
Cuban  Military  Drama  in  4  Acts,  in  which  James 
Rice  CassidjT-  played  as  Dandy  Donovan,"  an 
Irish-American  servant. 

Queen's,  Dublin,  February  13th,  1899.  Cast  :  10  males 
and  6  females.  First  plaved  at  AVigan  Theatre  Roval, 
April  18th,  1898. 

Stanley  (Herbert  J.\  Fardorougha  and  the  Black 
Prophet.    Drama  in  4  Acts. 

Produced,  Adelphi,  Liverpool,  July  4th,  1898. 

Maltby  (Alfred)  and  Lindo  (Frank),  ^ly  Soldier  Boy. 
A  Comedy-Farce  in  3  Acts. 

Contains  an  Irish  soldier  character — *'  Michael 
O'Docherty."  This  farce  was  played  at  the  Gaiety, 
Dublin,  in  April,  1899.  Cast  :  6  niales  and  4  females. 
First  played  at  Fulham  Grand,  July  11th,  1898. 

Weldron  (]\[.).  The  Wearin'  of  the  Green.  Irish 
Drama. 

This  drama  was  performed,  with  success,  in  various  parts 
of  Ireland  in  connection  with  the  '98  celebrations. 

  Killarney.    Irish  Drama. 

Produced  by  the  Ballyhaunis  Amateurs  in  May,  1900.  Mr. 
Waldron  is  a  local  playwright. 

In  Fear  of  the  Law.   A  Romantic  Irish  Play. 

A  rather  crude  piece,  with  a  good  comic  villain 'part  in  it. 
Full  of  strong  situations.  Plaved  at  the  Queen's,  Dublin, 
in  June,  1899. 

Pelzer  (Josep).  Donnvbrook.  Irisli  ^Fusical  Drama 
in  3  Acts. 

Produced,  Theatre  Royal,  Coatbridge,  August  5th,  1899. 

Conyngham  (F.  J.).  What  Happened  to  Hooley. 
Farce. 

Wolverhampton  Star  Theatre,  March  11th,  1899.  (Copy- 
right performance). 


IRISH  PLAYS. 


243 


Our  Irish  Visitors.    An  American  Farcical  Comedy  in 
3  Acts. 

Mr.    Thomas   E.    Murray   filled    the    role    of   "  Colonol 
McMahon,"  an  abandoned  liusband,  when  the  piece 
played  at  the  Gaiety,  Dublin,  in  April,  1899.    Cast :  7 
males  and  9  females. 

Maltby  (C.  a.).   I'm  not  Myself  at  All.    A  Farce  in 
1  Act. 

An  Irishman  enters  a  gentleman's  house,  and  seeing  by  a 
letter  he  finds  that  a  certain  major  is  likely  to  come  and 
stop  six  months,  he  adopts  the  major's  name,  and  many 
farcical  incidents  of  a  mirth-moving  kmd  result.  Cast :  3 
males  and  2  females.    Time,  28  minutes. 

Fitzgerald  (Dan.)   The  Rose  of  Rathboy.   A  Modern 
Irish  Play  in  4  Acts. 

An  ordinary  sensational  melodrama  placed  amid  Irish 
scenery,  with  a  few  of  the  characters  speaking  in  the  Irish 
dialect.    Played  at  the  Queen's  in  October,  1899. 

Bottle  (Joshua  T.).     Brian  Brou.     A  Tr  agedy  in  5 
Acts  and  in  Verse.    London.    1899.    By  J.  T.  B. 

Generally  believed  to  be  b}^  Lord  Chancellor  J.  T.  Ball, 
but  this  is  a  mistake.  Author  was  an  Englishman  of  the 
unpoetical  name  of  Bottle,  and  for  that  reason  gave  only 
his  initials.  The  piece  is  above  the  average  as  far  as  the 
literary  merit  goes. 

Gillette  (William)  and  '-^Doyle  (Sir  A.  Conan). 
Sherlock  Holmes.   A  Play  in  4  Acts. 

Being  a  hitherto  unpublished  episode  in  the  career  of  the 
great  detective,  and  showing  his  connection  with  the 
strange  case  of  Miss  Faulkner,  in  which  he  bests  his  arch- 
enemy, Professor  Moriarty  (a  part  filled  bv  W.  L. 
Abington  with  great  skill).  The  place  is  London,  and  the 
time,  1889.  Cast  :  15  males  and  5  females.  Gillette, 
actor  and  playwright,  Avas  born  at  Hartfort,  Conn.,  U.S.A., 
July  24th,  1856;  Sir  Arthur  at  Edinburgh,  May  22nd, 
1859.  First  played  at  Garrick  Theatre,  New  York,  "Novem- 
ber  6th,  1899. 


2U 


GUIDE   TO   BOOKS   ON  IRELAND. 


The  Twentieth  Century, 

NOTE  ON  SOME  RECENT  PLAYS. 

A  certain  class  of  plays  that  has  appeared  on  the  Irish  stage 
within  the  last  few  years  has  been  the  subject  of  much  contro- 
versy. I  refer  especially  to  the  plays  of  the  late  J.  M.  Synge 
and  to  certain  plays  of  Mr.  W.  B.  Yeats,  but  these  remarks 
will  apply  in  part  to  some  other  plays  of  the  same  school.  It 
may  be  well  to  place  on  record  here  the  view  taken  of  these 
in  the  first  place  by,  I  think,  the  majority  of  Catholics  on 
religious  and  moral  grounds,  and,  in  the  next,  by  a  large  section 
of  Irishmen  on  patriotic  grounds  as  Avell. 

An  indication  of  this  view  is  afforded  by  the  angry  hostility 
of  Irish-Americans  towards  the  Irish  Players  now  (October, 
1911)  touring  the  States,  a  hostility  displayed  both,  as  we  shall 
see,  in  the  Press  and  in  the  striking  form  of  a  protest  issued 
by  the  United  Irish-American  Societies  of  New  Y'ork  in  the 
name  of  the  seventy-five  organisations  which  it  represents. 

The  opinions  on  this  subject  of  many  leading  Irishmen  and 
the  comments  of  the  Irish  and  Catholic  Press  both  at  home 
and  in  the  States  were  embodied  in  a  series  of  articles  which 
appeared  *(Sept.-Oct. ,  1911)  >  in  America,  one  of  the  leading 
Catholic  weeklies.  It  is  from  these  articles  that  the  following 
items  are  taken. 

The  New  York  Sun  of  July  25th,  1909,  in  the  course  of  some 
very  unfavourable  strictures  on  Mr.  Yeats 's  plan's,  speaks  of 
their  "  Maeterlinckian  atmosphere  "  (no  doubt  the  '*  atmos- 
phere "  of  the  earlier  Maeterlinck),  and  of  the  author's  work 
as  savouring  rather  of  Nietsche,  Flaubert,  Ibsen,  and  William 
Blake  than  of  anything  truly  Celtic. 

As  far  back  as  1904  the  New  York  Herald  said  of  the  same 
writer's  plays  :  '*  Mr.  Yeats 's  parodies  of  Ireland  are  as  in- 
solently un-Irish  as  they  are  insolenth'  incompatible  with  the 
foimdation  and  essentials  of  the  Christian  religion."! 

And  the  language  of  the  Irish-American  press — ^notably  of 
the  Irish  World  and  the  Gaelic  American — during  the  past  few 
months  has  been  no  less  emphatic. 

At  home,  likewise,  several  periodicals  of  national  views — 
notably  the  Leader — have  severely  condemned  these  plays.  The 

^'  The  editor,  though  he  agrees  with  some  of  these  judgments, 
is  not  to  be  understood  as  endorsing  all  of  them.  They  are 
adduced  as  examples  of  a  view,  at  present  pretty  widespread, 
that  is  taken  with  regard  to  these  plays. 

f  This  is  a  quotation  from  Mr.  O'Donnairs  pamphlet  (p.  30) 
referred  to  below. 


IRISH  PLAYS. 


245 


United  Irishman  said  some  years  ago  of  "  The  Shadow  of  the 
Glen  "  :  "  Mr.  Synge  borrows  the  decadent  note  of  Scandinavia 
or  France,  and  tries  to  inject  it  into  a  picture  of  Irish  life." 
Countless  citations  of  expressions  of  opinion  similar  to  this 
last  might  without  difficulty  be  adduced. 

Even  in  England,  amid  the  general  chorus  of  praise,  severe 
criticism  has  not  been  wanting.  The  Pall  Mall  Gazette,  in  a 
recent  article,  speaks  of  the  "  enervating,  almost  luxurious 
(^ITeminacy  "  of  Mr.  Yeats 's  plays,  and  characterises  some  of 
TNlr.  S^mg'e's  as  "  photographs  of  bestial  stupidity  and  depravity.'* 

I  shall  record  the  views  of  but  three  leading  Irish  Men  of 
Letters.  Canon  Sheelian  thus  epitomises  the  programme  of  the 
new  school  :  *'  Perish  the  Church,  perish  everything,  so  long 
as  you  leave  us  art,  and  especially  the  old  pagan  art  of  Ireland." 
Dv,  Hogan,  of  Maj^nooth,  editor  of  the  Irish  Ecclesiastical 
Record,  thinks  the  work  of  Synge,  etc.,  "  part  and  parcel  of  a 
Pagan  Renaissance,"  and  says  elsewhere  :  "  The  coarseness  of 
their  insults  to  the  Catholic  peasantry  is  as  inartistic  as  it  is 
offensive."  While  Mr.  Stephen  Gwynn,  M.P.,  is  reported  as 
saying  of  these  plays  that  they  are  "  too  often  a  desecration  of 
national  legend  and  an  outrage  to  national  sentiment." 

I  next  quote  the  writer  in  America,  expressing,  as  he  does 
in  the  most  emphatic  terms,  the  view  I  am  endeavouring  to 
set  forth.  He  contends  that  the  claim  of  this  particular  school 
of  Irish  writers  to  have  initiated  the  Gaelic  literary  revival 
and  to  be  its  chiefest  flower  is  supported  neither  by  the  history 
of  the  movement  nor  by  the  intrinsic  worth  of  their  produc- 
tions." After  bringing  forward  proofs  of  this  point  he  proceeds 
to  deal  severally  with  the  plays  of  the  writers  in  question. 
Neither  "  Countess  Cathleen  " — a  French  legend  whose  heroine, 
transplanted  to  Ireland,  proved  her  altruism  by  selling  her  soul 
to  the  devil — ^nor  "  Where  There  is  Nothing  " — an  attempt, 
after  the  manner  of  Ibsen's  **  Ghosts,"  to  extinguish  law, 
order,  Church,  and  morality — enhanced  Mr.  Yeats 's  authority 
as  an  interpreter  of  Irish  sentiment.  The  "  Pot  of  Broth  "  is 
an  unobjectionable  trifle,  and  "  The  Hour  Glass  "  and  "  Kath- 
leen Ni  Houlahan  "  are  elevated  in  style  and  thought,  and 
worthy  of  better  antecedents.  .  .  ."  Mr.  J.  M.  Synge  he 
describes,  and  of  course  correctly,*  as  *'  a  Trinity  College  student 
of  literary  tastes  who  went  to  the  Paris  Latin  Quarter  to  develop 
them.  There  he  made  a  study  of  the  decadent  French  writers, 
particularly  Baudelaire."  But  in  Paris  he  accomplished  nothing, 
and,  some  years  afterwards,  Mr.  Yeats,  coming  across  him  there, 
advised  him  to  go  to  the  Islands  of  Aran,  and  in  this  unexplored 
field  seek  new  materials  for  his  art.    This  ]\Ir.  Synge  did,  and 

*  See  Mr.  Yeats's  book,  "  J.  M.  Synge  and  the  Ireland  of  his 
Day,"  noticed  on  p.  44L 


246 


GUIDE  TO  BOOKS   ON  IRELAND. 


the  result  we  see  in  his  book  on  Aran  and  in  his  plays.  Of  the 
latter  the  writer  I  am  quoting  says  :  "  The  design  and  substance 
of  his  plays  are  of  the  Gallic  decadence.  '  Riders  to  the  Sea,' 
perhaps  the  least  objectionable,  is  Loti's  '  Pecheurs  d'Islande  * 
set  down  on  the  Irish  coast.  The  root  idea  of  '  The  Well  of 
the  Saints  '  is  in  a  play  of  Clemenceau's.  '  The  Shadow  of  the 
Glen  '  fable  may  be  found  in  Voltaire's  '  Zadig,'  and  the  notorious 
'  Playboy  of  the  Western  World  '  is  a  dramatization  of  a  freak 
of  Baudelaire.*  Nor  is  the  form  and  tone  less  foreign  than  the 
substance.  ...  In  all  his  plays  ugly  sneers  at  the  people's 
morals  and  religious  practices  are  frequent ;  but  in  the  '  Playboy  ' 
his  anti-Catholic  animosity  is  openly  revealed.  .  .  .  There 
is  frequent  and  blasphemous  reference  to  God  and  the  Blessed 
Virgin  and  the  saints;  not  one  of  the  characters  reveals  a  single 
good  quality,  and  their  only  moral  motive  is  '  fear  of  Father 
Reilly.'  The  language  and  details  are  too  disgusting  for  cita- 
tion." Finally,  after  a  reference  to  Lady  Gregory's  "  Ibsenistic 
comedies,"  he  says  :  "  The  trio  are  much  Maeterlincked, 
Baudelaired,  and  Ibsenized,  but  Gaelicized  not  at  all." 

I  do  not  think  that  these  views  regarding  the  tone  and 
language  of  J.  M.  Synge's  plays — especially  the  '*  Playboy  of  the 
Western  World  " — are  unduly  harsh.  Indeed,  I  cannot  but  con- 
sider the  production  of  this  last  play,  as  it  stands,  to  be  unjustifi- 
able on  any  grounds.  But  (it  is  hardly  necessary  to  add)  this  does 
not  imply  that  all  the  plays  of  the  same  school  are  of  the  stamp 
of  those  particularly  deferred  to  above.  Several  even  of  Mr. 
Yeats 's  are  of  a  wholly  different  stamp.  Several,  we  believe, 
have  gone  far  towards  the  ideal — not  the  highest,  perhaps,  but 
still  an  ideal — thus  expressed  by  Fiona  Mac  Leod  :  "A  drama 
that  would  not  set  itself  to  please  through  a  facile  laughter 
and  an  easy  pathos,  but  through  the  magic  of  legendary  asso- 
ciations and  the  spell  of  a  timeless  imagination,  working  within 
a  passionate  nationalism  of  mind  and  spirit.** 

Moreover,  as  regards  the  dramatic  and  literary  value  of  the 
late  Mr.  Synge's  plays,  not  all  of  those  who  hold  the  views 
above  expressed  are  at  one.  Whatever  may  be  said  about  their 
dramatic  merits,  I  think  it  would  be  hard  to  deny  a  certain 
beauty  to  their  literary  style.  The  talk  of  the  Irish  peasant  is 
at  times  shot  through  with  a  strange  poetic  imaginativeness. 
It  abounds  in  quaint  turns,  idioms,  and  images  unknown  to 
English.  These  peculiarities  the  dramatist  has  reproduced  and 
accentuated.  And  it  is  little  wonder  that  to  audiences  strangers 
ta  the  Gaedhaltacht  his  work  should  appeal  with  a  sense  of 

*  The  credit  for  these  identifications  is  entirely  due  to  Mr.  D. 
J.  O'Donoghue,  who  first  made  them  in  his  article  of  August, 
1911,  referred  to  below. 


IRISH  PLAYS. 


247 


delightful  freshness  and  originality.  But  his  peasants  are  seen 
through  a  distorted  medium.  He  himself  has  been  known  to 
admit  in  private  life  that  the  Connacht  peasant  whom  he  put 
upon  the  stage  was  not  the  peasant  as  he  existed  in  real  life, 
but  the  writer's  own  literary  fancies  set  amidst  Connacht 
surroundings. — Ed.] 

Since  the  above  was  put  in  type  much  additional  matter 
bearing  on  the  subject  has  come  under  the  writer's  notice, 
some  of  which  have  already  been  referred  to  in  footnotes.  The 
earliest  in  point  of  date  is  Mr.  F.  H.  O'Donnell's  pamphlet, 
"  The  Stage  Irishman  of  the  Pseudo  Celtic  Drama,  1904." 
Nothing  said  by  the  American  papers  above  quoted  exceeds  in 
severity  the  strictures  which  this  author  passes  on  Mr.  Yeats's 
plays — J.  M.  Synge  was  then  barely  on  the  horizon.  He  speaks 
of  them  as  "a  sort  of  Maeterlinckian-Ibsenitisli-Baudelairian 
drama,"  and  finds  (see  p.  25)  sneers  and  blasphemies  against 
religion  scattered  with  full  hands  in  Mr.  Yeats's  principal 
plays." 

In  the  Irish  Daily  Independent  of  August  21st,  1911,  a  tem- 
perate but  damaging  piece  of  criticism  was  published  by  Mr.  D. 
J.  O'Donoghue,  Librarian  of  the  National  University,  and  a 
well-known  lit-erary  man.  The  article  points  out  specificalW  the 
foreign  origin  of  Mr.  Synge 's  plots,  and  the  deficiencies  of  some 
of  them  from  the  dramatic  standpoint.  It  created  a  considerable 
stir  at  the  time  of  its  appearance. 

About  the  middle  of  December,  1911,  the  Rev.  George  O'Neill, 
S.J.,  M.A.,  delivered  before  the  Students'  National  Literary 
Society  a  remarkable  lecture,  afterwards  published  in  the  Irish 
Catholic  for  December  23rd,  and  soon,  we  understand,  to  be 
issued  in  pamphlet  form.  It  is  a  moderate  and  thoughtful 
discussion  of  the  claims  of  these  plays  to  be  Irish  in  theme 
and  spirit.    The  conclusion  is  decisively  against  these  claims. 

Meanwhile  articles  in  which  the  highest  and  often  the  most 
extravagant  praise  is  given  to  J.  M.  Synge 's  plays  continue  to 
appear  in  English  periodicals.  Meanwhile  the  hostile  attitude 
of  the  Irish  people  in  America  has  become  more  and  more 
ncccntiuited. 

4 

ricays  by  W.  JB.  Yeats  (1865). 

For  Mr.  Yeats's  views  on  the  drama  see  (1)  The  introduc- 
tions to  some  of  his  plays.  (2)  Some  of  the  essays  in 
*'  Ideas  of  Good  and  Evil,"  a  note  on  which  will  be  found 
on  p.  19.  (3)  Criticisms  scattered  through  the  pages  of 
Dcltaine    (1899-1900),   the   organ   of   the   Irish  Literary 


248 


GUIDE  TO  BOOKS   ON  IRELAND. 


Theatre,  and  of  Samhain  (1901 — ),  the  organ  of  the  Irish 
National  Theatre  Society.  (4)  ch.  iv.  of  W.  B.  Yeats  and 
the  Irish  Literary  Revival,  by  H.  S.  Krans.     See  p.  44. 

N.B. — It  has  been  thought  v^^ell  to  place  Mr.  Yeats 's  plays 
in  this  position,  as  though  his  firs^  V^^y  ^'^^  acted  as  far 
back  as  1894,  the  bulk  of  his  dramatic  work  belongs  to  a 
much  later  date. 


  The  Land  of  Heart's  Desire.^     A  Ver^^e  Plav  in 

1  Act. 

A  wife  willingly  leaves  all  her  earthly  happiness  to  follow 
the  call  of  the  "  good  people  "  to  the  land  of  heart's  desire. 
The  poet  has  put  much  beautiful  poetry  into  his  conceit. 
First  played  at  the  Globe,  London,  on  March  29th,  1894. 
Cast  :  3  males,  2  females,  and  a  little  girl.  Revived  at  the 
Abbey  on  February  16th,  1911. 

—  The  Countess  Cathleen.^  A  Miracle  Plaj'  in  Verse 
in  3  Acts. 

The  play's  action  takes  place  during  a  terrible  time  of 
famine  in  Ireland  in  the  once  upon  a  time  "  period  of 
the  country's  existence.  A  noble  young  Countess,  the 
beloved  of  all  around  her,  seeing  her  people  die  and  she 
incapable  of  relieving  them,  sells  her  soul  to  demons  in 
order  that  the  starving  peasantry  may  have  food  for  their 
relief.  For  this  heroic  deed  of  self-sacrifice  the  lovely  lady 
is  ultimately  saved,  and  the  demons  cheated  out  of  their 
prey.  This  piece  was  first  produced  at  the  Antient  Concert 
Rooms,  Dublin,  on  May  8th,  1899,  by  the  Irish  Literary 
Theatre,  when  a  number  of  young  college  students  thought 
well  to  create  a  hostile  demonstration,  as  they  did  not 
think  "  the  means  justified  the  end  "  in  the  case  of  the 
fair  Countess's  bargain.  It  is  really  a  beautiful  work,  and 
would  well  repay  revival.  The  cast  is  made  up  of  9  male 
and  6  female  characters.  It  was  published  in  book  form, 
along  with  "  Various  Legends  and  Lyrics,"  in  1892. 
Revived  (a  new  version  with  mediaeval  setting)  at  Abbey, 
on  December  14th,  1911,  with  Marie  O'Neill  in  the  title 
role.    A  French  writer  originated  the  story. 

^  *'  Turns  on  another  revolting  burlesque  of  Catholic  religion. 
.    .    Instinct  with  dechristianisation. " — F.  H.  O'Donnell. 

-  A  ridiculous  and  offensive  absurdity." — F.  H.  O'Donnell. 


IRISH  PLAYS. 


249 


-  and  Moore  (George).    Diarmid  and  Grania.  A 
Romantic  Irish  Play  in  3  Acts. 

First  produced  by  the  Benson  Company  at  the  Gaiety 
Theatre,  Dublin,  under  the  auspices  of  the  Irish  Literary 
Theatre,  on  October  21st,  1901.  The  legend  of  the  flight 
of  Grania  with  Diarmid  from  Fionn,  and  the  latter 's  soarch 
through  Ireland  for  the  wanderers,  ending  in  the  death  of 
Diarmid  from  the  savage  onslaught  of  a  wild  boar,  is 
graphically  and  picturesquely  set  forth  in  this  piece.  The 
cast  is  a  lengthy  one.  Incidental  music  bv  Sir  Edward 
Elgar.i 

-  Kathleen  ni  Houlihan.    A  Prose  Play  in  1  Act. 

The  poet  dreamed  a  dream  and  wove  it  into  this  beautiful 
patriotic  little  play.  The  old  woman — Kathleen  ni  Houli- 
han— stands  for  Ireland,  and  fires  the  heart  of  the  young 
peasant  on  the  eve  of  his  wedding,  so  that  he  forgets  even 
liis  bride-elect  to  serve  her — his  country.  It  is  an  inspir? 
ing  play,  with  a  cast  of  6  (3  males  and  3  females).  It  was 
first  played  by  the  Irish  National  Theatre  Society  in  Dublin 
on  April  2nd,  1902,  and  has  remained  very  popular  ever 
since. 


  A  Pot  of  Broth.    A  Farce  in  1  Act. 

In  this  merry  trifle  a  beggarman  fools  a  tight-fisted 
country^\oman  into  giving  him  a  meal  by  the  aid  of  a  stone, 
he  said,  that  could  make  broth.  The  part  of  "  The  Beggar- 
man  "  is  a  capital  part  for  an  actor  with  a  natural  turn  for 
broad  comedy.  W.  G.  Fav  created  the  part  in  the  Antient 
Concert  Rooms  on  October  30th,  1902. 

  The  Hour  Glass.    A  1-Act  Morality  Play. 

This  is  a  gem  in  its  way,  and  tells  of  a  Wise  Man  who  has 
sown  the  seed  of  unbelief  all  around  him,  until  an  angel 
appears  to  him  and  tells  him  he  will  die  within  the  hour 
and  be  lost  if  he  finds  not  one  who  believes  within  that 
time.  Just  as  the  sands  of  the  hour  glass  are  run  down, 
and  he  is  in  despair,  he  finds  in  a  "  Fool  "  a  believer,  and 
he  is  saved.  There  is  a  beauty  and  a  pathos  about  the 
play  that  invariably  grips  an  audience;  and  the  role  of 

1  "  People  said  [of  this  play]  and  not  without  reason,  that 
Mr.  Moore  and  Mr.  Yeats  had  gone  to  Irish  legend  to  find  in 
epic  tradition  the  plot  of  an  average  French  novel." — Mr. 
Stephen  Gwynn  in  1901, 


250 


GUIDE  TO  BOOKS   OX  IRELAND. 


"  The  Wise  Mau  "  is  splendidly  dramatic.  Four  principal 
and  some  minor  parts  make  up  the  cast.  It  was  first 
played  in  the  Molesworth  Hall  on  March  14th,  1903. 

-  On  the  King's  Threshold.  A  Verse  Play  in  1  Act. 

A  poet  who  has  been  refused  his  place  at  the  King's 
table  resolves  to  die  on  the  King's  threshold,  to  assert  the 
ancient  rights  of  the  poets.  All  fruits  fail  to  shake  him 
from  his  resolve,  and  sooner  than  suffer  such  a  disgrace 
the  King  restores  him  to  his  rightful  place  again.  It  was 
first  played  by  the  Irish  National  Theatre  Society,  at  the 
Molesworth  Hall,  on  October  8th,  1903,  and  was  afterwards 
revised  and  played  at  the  Abbey.  The  role  "  Seanchan," 
the  poet,  is  a  fine  one  for  an  actor  with  a  musical  voice 
and  elocutionary  skill  to  use  it  properly.  The  cast  con- 
tains 17  characters.  Frank  J.  Fay  made  a  memorable 
Seanchan  in  original  cast. 

-  The  Shadowy  Waters.    A  Plav  in  1  Act  in  Verse. 
(1st  ed.,  1901). 

This  is  more  a  poem  set  in  dramatic  form  than  a  drama 
cast  in  poetic  mould.  It  is  a  strange,  weird,  evasive  thing 
when  seen  on  the  stage.  Forgall  sets  sail  on  mysterious 
"  shadowy  waters,"  and  there  comes  across  a  strange  ship, 
which  he  captures,  and  kills  all  on  board,  save  one,  a 
beautiful  Queen,  whom  he  instantly  falls  in  love  with.  His 
strong  will  compels  her  to  love  him  in  return,  and  cutting 
himself  adrift  from  the  captured  vessel  and  his  crew  who 
now  man  it,  he  sails  into  the  unknown  seas  with  his  cap- 
tured Queen  by  his  side.  There  is  something  uncanny, 
yet  beautiful,  about  this  poem-play,  which  requires  very 
delicate  treatment  from  the  players.  The  scene  is  laid  on 
board  of  the  drifting  galley.  There  are  four  characters  and 
some  sailors  in  the  cast.  The  play  was  first  produced  at 
the  Molesworth  Hall,  Dublin,  on  January  14th,  1904,  by 
the  Irish  National  Theatre  Society. 

-  On  Bailees  Strand.    A  Verse  Play  in  1  Act. 

It  tells  of  how  Cuchulain  slays  his  own  son  without  his 
knowing  whom  he  has  slain,  and  when  it  comes  to  his 
knowledge  what  he  has  done,  grief  overtakes  him,  and,  un- 
hinging his  mind,  he  rushes  towards  the  sea  on  Bailees 
Strand,  and  is  drowned  fighting  the  waves.  There  are  six 
principal  parts  in  the  play,  and  a  group  of  minor  ones.  It 
was  first  played  at  the  opening  night  of  the  Abbey,  Decem- 


IRISH  PLAYS. 


251 


ber  27th,  1905.  Yeats 's  first  attempt  at  drama  in  poetic 
form  appeared  in  The  Dublin  University  Review,  June, 
1880 — Mosada,  a  story  of  the  Inquisition  in  Arabia.  This 
little  piece  was  shortly  afterwards  published  in  pamphlet 
form,  at  6d.  Now  it  brings  j95  a  copy.  There  was  a 
strange  portrait  of  the  poet,  with  beard,  by  his  father,  J. 
B.  Yeats,  as  a  frontispiece. 

Deirdre.  A  Legendary  Verse  Play  in  1  Act. 
(Plavs  for  an  Irish  Theatre,  vol  b\  pp.  66.  (A 
H.  Bullen).  3/6. 

It  treats  in  poetic  and  dramatic  way  the  tragic  result  of 
the  return  of  Deirdre  and  Naisi  to  Emain  Media.  It  is  con- 
sidered one  of  its  authors  most  successful  essays  in  drama; 
and  such  well-knowTi  actresses  as  Miss  Darragh,  Miss  Mona 
Limerick,  Mrs.  Patrick  Campbell,  Miss  Marie  O'Neill,  and 
Miss  Sara  Allgood,  have  already  interpreted  the  title  role, 
which  is  a  really  fine  tragic  part.  It  was  first  played  at 
the  Abbey  on  November  24th,  1906,  and  its  cast  contains 
9  parts  (4  male  and  5  female). 

Where  There  is  Nothing.    Drama  in  5  Acts. 

In  this  strange  play,  a  gentleman,  Paul  Ruttledge,  is 
against  society  and  all  things  as  they  are,  and,  in  the  end 
is  killed  for  his  pains.  It  was  first  performed  by  the  Stage 
Society,  in  London,  on  26th  June,  1904.  It  contains  26 
characters  and  6  scenes.  The  dramatist,  assisted  by  Lady 
Gregory,  remoulded  this  play  into  3  Acts,  and  re -named  it 
The  Unicorn  from  the  Stars.  The  latter  version  first  saw 
light  at  the  Abbey  on  November  21st,  1907. 

The  Green  Helmet.  A  Play  in  Ballad  Metre  in 
1  Act. 

The  scene  of  this  play  is  set  in  Ulster,  in  the  Heroic  Age 
when  Cuchulain  and  the  other  legendary  heroes  held  sway. 
It  has  for  its  kernel — the  eternal  differences  of  opinion  and 
quarrels  of  our  people,  and  is  full  of  weirdness  and  beauty. 
It  was  first  staged  at  the  Abbey  on  February  10th,  1910. 
A  version  of  the  same  piece  in  prose,  entitled,  T}ie  Goldeyi 
Helmetj  first  saw  light  on  March  20th,  1908.  It  was  then 
styled  "  an  heroic  farce."  The  cast  comprises  5  male 
and  3  female  parts,  and  several  scullions,  horse  boys,  and 
blackmen.    It  is  a  rarity  to  get  a  play  in  ballad  metre  I 


GUIDE  TO  BOOKS   ON  IRELAND. 


ays  by  Edward  ^Iartyn. 

The  Heather  Field.  A  Play  in  3  Acts. 

This  fine  play,  modelled  on  the  lines  of  Ibsen  drama,  is  a 
most  impressive  work  when  well  played.  The  C4?ntral 
figure — a  man  who  stakes  all  his  wealth  and  energy  on 
the  reclamation  of  a  heather  field,  only  to  find  that,  after 
all,  the  heather  breaks  out  afresh  and  all  his  work  comes 
to  nought — is  a  great  acting  one.  The  drama  when  first 
played  by  the  Irish  Literary  Theatre  on  May  9th,  1899, 
at  Antient  Concert  Rooms,  made  a  big  hit,  chiefly  owing 
to  the  superb  playing  of  Thomas  Kingston  in  the  prin- 
cipal role.  The  play  is  easily  staged,  only  one  interior 
scene  being  required.  The  cast  contains  7  male  and  2 
female  parts.  Thomas  Kingston  died  August  2nd,  1911. 
Mart^-n  was  born  at  Masonbrook,  near  Loughrea,  County 
Oalway,  on  January  31st,  1859. 

]\l9eve.   A  Psychological  Drama  in  3  Acts. 

The  chief  character  is  a  girl  who  sighs  for  the  Land  of  the 
Ever  Young,  and  goes  out  of  her  father's  home  on  the 
morning  of  her  marriage  to  seek  the  glorious  region  of  her 
heart's  desire  over  the  hills  and  far  away.  There  is  much 
that  is  beautiful  in  this  play,  but  it  scarcely  convinces 
when  realised  on  the  stage.  The  Irish  Lit=erary  Theatre 
first  plaved  it  at  the  Gaiety  Theatre,  Dublin,  on  February 
19th,  1900. 

-  The  Enchanted  Sea.    A  Play  in  4  Acts. 

An  ambitious  v\-oman  stops  at  nothing  to  gain  a  lord  for 
her  daughter,  and  draws  a  blank  in  the  end  and  commits 
suicide.  The  play  is  gloomy  and  mystic,  and  does  not 
take  kindly  to  the  stage.  It  was  first  produced  by  The 
Players'  Club  at  the  Antient  Concert  Rooms,  Dublin,  on 
April  18th,  1904. 

-  The  Tale  of  a  Town.   A  Play  in  5  Acts. 

Is  founded  on  the  same  theme  as  The  Bending  of  the 
Bough.  The  National  Plavers  introduced  IMartj'n's  version 
at  iho  Molesworth  Hall /Dublin,  on  October  31st,  1905, 
when  it  met  with  much  success.  The  cast  is  a  large  one — 
15,  with  "  supers.'' 

The  Placehunters.     1-Act  Play. 
A  satirical  squib  more  than  a  dramatic  work.  Published 
in  The  Leader  for  July  26th,  1902.    Not  yet  acted. 


IRISH  PLAYS. 


253 


a3^s  by  Alice  Milligan. 

The  Last  Feast  of  the  Fianna.  A  Legendary 
Play  in  Verse  and  in  1  Act.  Published  by  Nutt. 
Gd. 

It  tells  how  Oisin,  charmed  by  the  fairy  princess,  Niamh, 
follows  her  into  the  Land  of  the  Ever  Young,  leaving  his 
parents,  Grainne  and  Fionn,  to  mourn  his  loss.  The 
scene  is  laid  "  In  Fionn 's  Dun,"  and  two  female  and  four 
male  characters,  with  a  number  of  bondswomen  and 
warriors,  make  up  the  cast.  Tliis  little  piece  was  produced 
the  same  night  as  Mcpve  (February  19th,  1900).  It  is  full 
of  the  music  of  sweet  speech. 

The  Harp  that  Once.    A  '98  Play  in  2  Acts. 

Played  at  the  dawn  of  the  Twentieth  Century,  at  the 
Antient  Concert  Rooms,  with  Frank  Fay  and  Sara  AUgood 
in  the  cast.  First  plaved  at  Antient  Concert  Rooms, 
Dublin,  26th  August,  1901. 

The  Escape  of  Red  Hugh.  An  Historical  Drama 
in  2  Acts. 

Contains  many  stirring  and  dramatic  episodes.  Played  in 
Dublin,  by  the  National  Players,  in  October,  1904. 

The  Last  of  the  Desmonds.  A  Bi-lingual  Irish 
Historical  Plaj\ 

The  story  of  Red  Hugh  O'Donnell's  wooing.  First  played 
by  the  Cork  National  Theatre  Society,  on  March  6th,  1905. 

Oisin  in  Tir-na-nOg,  and  Oisin  and  Padraic. 
Legendary  Plays  in  Verse  in  1  Act,  forming  parts 
two  and  three  in  a  dramatic  triology.  witli  The 
Last  Feast  of  the  Fianna  as  the  opening  part. 

Tlie  latter  has  been  oft^n  played,  but  not  so  either  of  the 
other  two  parts.  Miss  Milligan  is  a  native  of  Omagh,  Co. 
Tyrone. 

The  Daughter  of  Oonagh.  A  Melodrama  on  some 
Acts  of  the  Cromwellian  Period. 

Published  in  the  United  Irishinan. 


254 


GUIDE  TO  BOOKS   ON  IRELAND. 


 ■  The  Green  upon  the  Cape.     A  short  Historical 

Play. 

An  incident  of  the  visit  of  Wolfe  Tone  to  the  Hague. 

  Brian   of   Banba.    Short   Historical   Play  in 

poetic  form. 

  The  French  are  on  the  Sea.     A  "98  Drama  in  5 

Acts.  (Unpublished.) 

^^Fagan  (James  B.).     The  Eebels.     A  Romantic  Irish 
Play  in  4  Acts. 

Full  of  exciting  and  unexpected  developments.  The  scene 
is  laid  in  Wicklow,  in  the  year  '98.  The  story  woven 
round  the  Rebellion  is  one  of  the  love  of  two  men  for  a 
maid — a  rebel  and  a  soldier — the  former  the  chosen  one 
and  the  latter  his  deadly  enemy  in  consequence.  Of  course, 
the  rebel  is  uppermost  in  the  end.  Played  at  the  Gaiety, 
Dublin,  in  October,  1899.  Originally  plaved  at  Camberwell 
Metropole,  September  4th,  1899. 

 •  The  Earth.     Play  in  i  Acts. 

The  plot  of  this  clever  play  is  centred  round  the  power  of 
modern  journalism,  and  one  of  the  characters  is  an  Irish 
journalist.  London  is  the  scene  of  action.  Produced  for 
the  first  time  at  Torquay  Opera  House,  April  8th,  1909. 

'Marman  (Fred.).     The  Patriot's  Wife.   A  Historical, 
Realistic  Drama  in  4  Acts. 

A  tale  of  the  Irish  Rebellion  of  1798.  Exciting,  interesting, 
and  stirring  melodrama.  Well  written  and  well  con- 
structed, with  more  romance  than  humour  in  it,  and  an 
unnecessary  third  act.  The  story  of  Kathleen  McGrath's 
undying  love  for  Myles  Byrne,  the  rebel,  and  scorn  for  his 
black-hearted  persecutor  and  rival,  Captain  Hunter- Gowan, 
of  the  Wexford  Yeomanry,  is  most  dramatically  and 
picturesquelv  told.  Played  at  the  Queen's,  Dublin,  in 
February,  1900. 

 Trooper  Hunt's  Widow.     A  Farcical  Comedy  in 

3  Acts,  in  which  Joseph  Hunt  impersonates  an 
Irish  Widow,"  after  the  manner  of  Charley's 
Aunt  "  in  the  famous  comedy  of  that  name. 
Cast :  6  males  and  3  females. 


IRISH  PLAYS. 


255 


*MooRE  (George).  The  Bending  of  the  Bough.  A 
Comedy  in  B  Acts. 

A  play,  chock-full  of  topical  satire  as  to  the  relations  of 
the  *'  old  country  *'  to  those  of  the  '*  sister  isle."  Though 
propagandist  in  spirit,  the  comedy  dramatically  is  very  fine, 
and  contains  many  good  acting  parts.  The  Irish  Literary 
Theatre  was  accountable  for  its  stage  birth  at  the  Gaiety 
Theatre,  Dublin,  February  20th,  1900.  Mr.  Moore  is  the 
son  of  the  late  George  Henry  Moore,  of  Moore  Hall,  Co. 
Mayo. 

Dear  Hearts  of  Ireland.   Drama  in  3  Acts. 

Peckham,  Crown,  December  3rd,  1900. 

Walleston  (Miles)  and  Gilbert  (Francis).  A  Lon- 
don Arab.  Drama  in  4  Acts,  in  which  Micky 
Stiles,  Z.  97,"  disported  himself  with  song,  in  the 
person  of  Dan  Fitzgerald. 

Queen's,  Dublin,  November  5th,  1900.  Cast  :  13  males 
and  6  females.  First  production  Folkstown  Pleasure 
Gardens,  March  20th,  1899. 

Thomas  (Augustus).    Oliver  Goldsmith.  Play. 

Produced  in  America  in  1900.  Thomas  is  an  American 
playwright.    Born  at  St.  Louis,  Mon.,  January  8th,  1850. 

Sullivan  (Arthur)  and  German  (Edward),  music  by; 
Hood  (Basil),  written  by.  The  Emerald  Isle;  or, 
The  Caves  of  Carrig-Gleena.  A  Comic  Opera  in 
2  Acts. 

Period,  about  100  years  ago.  Cast :  9  males  and  7  females. 
Vocal  score  published  by  Chappell.  Produced,  Savoy, 
London,  April  27th,  1901. 

Grange  (A.  Demain).  At  the  Rising  of  the  Moon.  Irish 
Romance  in  1  Act. 

Produced,  Notting  Hill,  Coronet  Theatre,  London,  April 
1st,  1901. 


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*Jessop  (G.  H.),  books  and  lyrics  by;  'Mones  (Sicluey), 
music  by ;  Greenbank  (Percy)  and  Taylor 
(Charles  H.).,  additional  lyrics  by.  My  Lady 
Molly.  Comedy  Opera  in  2  Acts,  with  Mickey 
O'Dowd,*'  a  servant  to    My  Lady,"  in  the  cast. 

Lady  Molly  stoops  to  conquer,  somewhat  after  the  manner 
of  Miss  Hardcastle  hi  Goldsmith's  famous  comedy,  She 
Stoops  to  Conquer.  Cast  :  10  males  and  7  females.  First 
produced  at  Brighton  Theatre  Royal,  August,  1902. 

'^•Plaj^'s  by  Standi s II  O'Grady. 

  Hugh  Roe  O'Donnell.    A  Sixteen  Century  Irish 

Historical  Play  (Nelson  and  Knox,  Belfast). 

Performed  in  the  "Woods  of  Sheestown,  in  the  County  of 
Kilkenny,  on  August  15th,  1902.  Twelve  scenes,  and  over 
twenty  characters.  The  play  is  full  of  stately  diction  and 
effective  tableaux. 

  The  Transformation  of  Fionn.  A  Legendary  Play 

in  1  Act. 

In  it  a  Fairy  entices  Fionn  to  plunge  into  the  magic  lake 
to  find  for  her  a  ring  she  says  she  has  lost  therein.  Old 
age  comes  upon  him  instanth^  and  his  companions  know 
him  not,  save  one,  avIio  has  been  sprinkled  with  the  magic 
waters  himself.  He  calls  on  the  fair  enchantress  to  release 
Fionn  from  the  spell,  which  she  ultimately  does.  The 
scene  is  laid  by  the  Lake  of  Slieve  Gullion.  Cast  :  3  males, 
1  female,  and  a  number  of  warriors. 

  Fionn — a  Masque. 

Performed  in  the  open  air,  at  Kilkenny,  in  1907. 

— —  The  Coming  of  Fionn.   In  1  Scene. 

Performed  by  the  boys  at  St.  Enda's  School  on  April  9th, 
1900.  A  noble,  heroic  fragment,  being  really  only  an 
episode  in  his  Masque  of  Fionn. 

^Duncan  (James).  A  Gallant  of  Galway.   A  Romantic 
Play  in  2  Acts. 

The  scene  is  laid  in  Galway  in  1750.  It  is  full  of  love  and 
adventure,  and  contains  niue  characters — 6  males  and  3 
females.  First  played  at  National  Literary  Society,  Dublin, 
on  March  24th,  1902. 


IRISH  PLAYS. 


257 


^Tla3's  by  Seumas  O'Cuisin  (James  H.  Cousins). 
  The  Sleep  of  the  King."  An  Allegory  in  1  Act. 

A  slight  poetic  trifle,  with  not  much  dramatic  backbone  in 
it.  First  produced  at  Antient  Concert  Rooms  by  the  Irish 
National  Theatre  Society  on  October  29th,  1902.  It  con- 
cerns the  King  of  Ireland's  son  of  ancient  story,  and  the 
action  takes  place  among  trees  in  twilight,  near  the  Hill 
of  Usna.    There  are  only  four  characters  in  the  piece. 

  The  Racing  Lug.   A  1-Act  Play  of  real  life. 

This  tragic  little  episode  is  laid  in  a  North  of  Ireland  fish- 
ing village,  and  makes  instant  appeal  to  the  emotions  of  the 
spectators.  It  depicts  the  sorrows  in  the  lives  of  those  who 
go  down  to  the  sea  in  boats,  and  of  how  the  foolhardy 
hoisting  of  a  "  racing  lug  "  in  the  teeth  of  the  gale  brings 
desolation  to  a  fisherman's  home.  On  October  31st,  1902, 
the  little  tearful  tale  of  the  sea  was  first  played  at  Antient 
.Concert  Rooms,  Dublin.  Five  characters  make  up  the 
cast — 3  male  and  2  female.  It  is  a  little  play  that  "  grips  " 
when  sincerely  played. 

— —  The  Sword  of  Dermot.    A  Romantic  Irish  Play 
in  Verse  and  3  Acts. 

Time,  the  Fifteenth  Century.  Place,  the  Fortress  of  The 
McDermot,  on  Dermot  Rock,  an  island  on  Loch  Ce,  near 
Boyle,  Co.  Roscommon.  Tells  of  the  tragic  consequences 
resulting  from  the  possession  of  the  sword  of  Dermot.  It 
was  first  played  at  National  Literarv  Society,  April  20th, 
1903. 

  A  Man's  Foe.   A  1-Act  Play. 

Depicting  the  horrible  grip  that  drink  possesses  when  once 
it  gets  hold  on  its  victim.  It  is  a  propagandist  play  of 
dramatic  merit.  Presented  by  the  National  Players  at  the 
Molesworth  Hall  on  November  3rd,  1903.  The  scene  is 
laid  in  Dublin.  Time,  the  present.  There  are  five  char- 
acters in  the  cast.  O'Cuisin  is  the  pen  name  of  James, 
H.  Cousins. 

■        Sold.    A  Comedy  in  2  Acts. 

A  farmer  is  about  to  be  turned  out  for  non-paj^ment  of 
rent,  when  his  wife  hits  upon  a  plan  to  get  him  out  of  his 
trouble.    It  is  that  he  becomes  legally  dead,  and  signs  over 

T 


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his  property  to  another  until  things  would  right  them- 
selves. Amusing  complications  arise  when  the  farmer 
wants  to  realise  the  property  for  his  own  use,  and  finds  it 
easier  said  than  done.  A  cottage  interior  and  an  office. 
First  performed  by  the  Cork  National  Theatre  Society  on 
December  27th,  1905,  in  Cork.  Cast  :  8  males  and  1 
female. 

  The  Turn  of  the  Tide.     Play.  (1906). 

Not  yet  acted.  The  plot  is  worked  out  amid  the  fisher- 
folk  in  a  fishing  village  in  the  North  of  Ireland. 

'^•Ryan  (Fred.).  The  Laying  of  the  Foundations.  A 
Play  in  2  Acts. 

A  topical  piece  of  clever  satire  of  municipal  life  in  Dublin. 
This  stinging  comed}^  of  everyday  life  has  alwa^'s  been  a 
success  when  performed.  It  contains  3  female  and  5  male 
characters.  On  October  31st,  1902,  it  was  first  performed 
at  the  Antient  Concert  Rooms,  Dublin. 

The  Absentee.  A  Two-Act  Musical  Comedy.  Music 
by  W.  Walle.  Libretto  by  Alfred  Percival 
Graves. 

First  played  at  Court,  London,  bv  the  Irish  Stage  Society 
on  July  2nd,  1908. 

"^EsPOSiTo  (Signor  Michele),  niusic  by,  and  "'^Eolles- 
TON  (T.  W.).    Deirdre.  Cantata. 

Performed  at  Feis  Ceoil  Festival  in  Dublin,  May,  1897. 

 and  '^'Graves  (Alfred  Percival).     The  Postbag. 

A  1-Act  Operetta.  Music  by  Michele  Esposito, 
and  libretto  by  Alfred  Percival  Graves. 

Played  at  Gaiety,  Dublin,  on  March  14th,  1902,  with 
Denis  0 'Sullivan  and  Joseph  O'Mara  in  the  cast.  Played 
at  the  Court  Theatre,  London,  July  3rd,  1908. 

Shemus  !  (The  Spy  of  the  Glen).  An  Irish  Drama  in 
3  Acts. 

Time,  the  Rebellion  of  1798.  A  typical  '98  play,  with 
plenty  of  excitement,  soldiers,  and  true-hearted  Irishmen 
in  it.  Played  at  Queen's,  Dublin,  October,  1902.  Cast  : 
9  males  and  3  females. 


IRISH  PLAYS. 


259 


NAN  (Brandan).     Robert  Emmet;  or,  The  Days  of 
1803.  Play. 

Produced  at  Fourteenth  Street  Theatre,  New  York  on 
August  18th,  1902. 

ays  by  Dr.  Douglas  Hyde,  President  of  the  Gaelic 
League. 

All  Dr.  Hyde's  dramatic  work  has  been  done  in  Irish,  and 
only  such  of  his  plays  as  have  been  translated  are  men- 
tioned here.  Notes  on  several  of  his  plays  will  be  found 
on  p.  264,  among  the  plays  of  Lady  Gregory,  who  wrote  the 
English  versions. 

-  The  Bursting  of  the  Bubble.  A  Bi-lingual  Play  in 
1  Act. 

A  skit,  in  which  the  identity  of  certain  Trinity  College 
professors  is  very  thinly  disguised.  It  describes  how  an 
old  apple  woman  puts  the  curse  of  Gaelic  on  the  professors 
for  some  unkindness  done  her,  so  that  when  his  Excellency 
the  Lord  Lieutenant  visits  the  College  he  finds  all  who 
welcome  him  speaking  in  a  tongue  he  does  not  understand. 
The  situation  is  a  very  droll  one.  First  played  by  the 
National  Players  at  Molesworth  Hall  on  November  2nd, 
1903.  Dr.  Hyde  is  the  son  of  the  rector  of  Frenchpark, 
Co.  Koscommon.    He  was  born  near  Castlerea, 

-  The  Tinker  and  the  Fairy.   An  incident  in  1  Act. 
(Gaelic  and  English  translation.) 

A  fairy  is  placed  under  a  spell,  and  assumes  the  shape  of 
an  old  woman.  If  not  kissed  by  a  mortal  within  a  certain 
period  she  can  never  return  to  her  fairy  home  again.  The 
time  is  on  the  verge  of  expiration,  when  a  merry  tinker 
comes  along  and  obliges  the  old  woman  with  a  kiss,  when, 
lo  and  behold!  a  lovely  young  fairy  stands  before  him, 
and  his  heart  goes  out  to  her  at  once,  and  she  takes  kindly 
to  his  loving  overtures.  When  the  poor  tinker  sees  paradise 
in  sight  the  fairy  is  called  away  to  fairyland  and  vanishes 
from  his  sight,  leaving  him,  a  poor  broken  man,  to  go  the 
roads  alone.  First  played  at  a  garden  party  given  by 
George  Moore,  at  Ely  Place,  Dublin.  The  Tinker  and  the 
Fairy  was  sung  as  an  opera  in  one  act,  with  libretto  by  Dr. 
Hyde,  and  music  by  Michael  Esposito,  at  the  Gaiety,  Dub- 
lin, for  the  first  tinie,  on  March  29th,  1910.  Cast  :  2  males 
and  1  female. 


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*BuTLER  (Mary  E.  L.).     Kittie.     A  Pastoral  Play  in 
1  Act. 

Scene,  a  hayfield  near  Bunratiy,  Co.  Clare.  Cast  :  5  males 
and  4  females  and  haymakers.  Published  in  Special  Num- 
ber of  the  Weekly  Independent,  May,  1902.  It  has  been 
acted  by  local  people  in  Co.  Sligo  and  Co.  Cork.  It  was 
translated  into  Irish  by  Mary  Sheehy,  of  Clonakilty,  Co. 
Cork.  The  Irish  version  appeared  in  the  Independent, 
June  and  July,  1902.  This  refreshingly  sweet  little  play 
is  founded  on  the  old  song  "  Kitty  of  Coleraine,"  and  is 
full  of  lovemaking,  and  ends  with  a  dance.  The  Kittie  in 
the  play  accidentally  breaks  a  pitcher,  and  Murtagh  soothes 
her  by  proposing  to  her  and  being  accepted.  AH  the  other 
pretty  girls,  when  they  hear  of  it,  take  to  breaking  pitchers, 
without  arriving  at  the  same  happy  result.  It  is  a 
splendid  little  piece  for  open-air  performance. 

*Plays  by  Lady  Gregory. 

  Twenty-Five.    A  Play  in  1  Act. 

A  young  man  returns  with  his  savings  to  marry  the  girl 
he  left  behind  him,  only  to  find  that  she  is  wed  already  to 
another,  and  that  the  world  has  gone  wrong  with  them 
since.  Hearing  this  he  proposes  to  play  a  game  of  twenty- 
five  with  the  man  of  the  house,  and  loses  all  his  savings  to 
him,  and  then  goes  out  a  disappointed  man  to  make  his 
way  back  to  the  States.  This  was  Lady  Gregory's  first 
essay  in  the  domain  of  drama.  She  has  since  become 
famous,  by  her  rare  gift  of  humour,  in  the  Irish  theatrical 
movement.  This,  her  first  effort,  was  crude,  but  effective, 
and  showed  that  she  had  the  stuff  out  of  which  dramatists 
are  made  in  her  composition.  This  little  drama  was  first 
played  by  the  Irish  National  Theatre  Society  at  Molesworth 
Hall  on  March  14th,  1903.  The  scene  is  a  cottage  interior, 
and  the  cast  is  made  up  of  3  female  and  3  male  parts, 
with  a  group  of  peasantry.  The  play  was  first  published 
in  The  Gael  before  being  acted. 

  Spreading  the  News.    A  Comedy  in  1  Act. 

A  really  humorous  peasant  play,  in  which  a  most  innocent 
incident  is  shortly  turned  into  a  tale  of  savage  murder  by 
the  tattling  of  village  gossips.  "Bartley  Fallon,"  upon  whom 
every  misfortune  is  likely  to  pitch,  is  a  very  droll  char- 
acter. First  played  at  the  opening  night  of  the  Abbey  on 
December  27th,  1904.  Ten  characters  (3  female  and  7 
male). 


IRISH  PLAYS. 


261 


.        Kincora.   A  Play  in  Prologue  and  3  Acts.  Crown 

8vo.,  Is.  net  each.  (Maunsel). 

The  scene  is  claiefly  laid  in  the  principal  Hall  of  King 
Brian's  House  at  Kincora.  and  the  action  begins  before 
Glenmama  and  ends  with  the  Battle  of  Clontarf.  The 
character  that  stands  out  like  a  red  flame  in  the  play  is 
that  of  "  Queen  Gormleith,"  a  part  splendidly  acted  by 
Mary  Walker  when  the  piece  was  first  performed  at 
the  Abbey  on  March  25th,  1905.  Lady  Gregory  has  since 
revised  the  play,  lopping  off  the  prologue  and  two  scenes  in 
Act  3,  and  altering  some  and  omitting  other  of  the  char- 
acters in  original  cast.  The  piece  is  published  as  first 
played,  and  is  the  better  acting  version  of  the  two.  Marie 
Nic  Shiubhlaigh  filled  the  role  of  "  Queen  "  in  original 
version,  and  Sara  Allgood  in  the  play  as  revised. 

  The  White  Cockade.     A  Comedy  in  3  Acts. 

(Maunsel). 

The  action  of  the  piece  takes  place  between  mid-day  and 
sunrise  at  Duncannon,  after  the  Battle  of  the  Boyne,  and 
ends  in  King  James  the  Second's  cowardly  flight  inside  a 
barrel,  and  Patrick  Sarsfield's  disgust  at  the  sight  of  the 
craven  King  for  whom  he  so  valiantly  fought.  First  played 
at  the  Abbey  on  December  9th,  1905.  Cast :  10  males  and 
2  females. 

  Hyacinth  Halvej^    A  Comedy  in  1  Act. 

This  is  one  of  the  brightest  pieces  in  all  the  Abbey  reper- 
toire. A  splendid  "  character  "  has  been  put  upon  Halvey, 
and  he,  poor  fellow,  tries  by  every  means  in  his  power  to 
lose  it,  without  avail.  The  comedy  is  full  of  amusing 
little  character-sketches,  and  is  easily  staged.  First  played 
at  the  Abbey  on  February  19th,  1906.  Cast :  4  males  and 
2  females. 

— —  The  Ga.ol  Gate.    A  Tragedy  in  1  Act. 

A  profoundly  impressive  dramatic  episode  of  a  mother, 
and  wife,  hearing  at  the  gate  of  Galway  gaol  of  the  execu- 
tion of  their  son  and  husband  for  a  murder  he  had  no  hand 
in;  and  the  exaltation  of  the  mother  when  she  hears  that 
her  boy  has  not  informed  on  those  w^ho  committed  the 
crime.  There  is  a  lyric  beauty  in  the  language  used  by 
both  women  that  translates  their  grief  into  the  realms  of 
pure  tragic  grandeur.  The  tragedy  was  first  played  at  the 
Abbey  on  October  20th,  1906.  The  gaol  doorkeeper  is  the 
only  other  character  in  the  piece. 


GUIDE  TO  BOOKS   OX  IRELAND. 


The  Canavans.    An  Extravaganza  in  3  Acts. 

A  wildly  extravagant  piece  of  fooling  of  the  burlesque  order, 
descriptive  of  the  troubles  of  the  miller,  Canavan,  to  be 
considered  a  loyal  subject  of  the  Queen,  and  of  the  sup- 
posed coming  of  Queen  Elizabeth  to  Ireland.  First  played 
at  the  Abbey  on  December  8th,  1906.  Five  characters — 3 
male  and  2  female. 

The  Jackdaw.    A  Comedy  in  1  Act. 

This  is  an  amusing  short  farcical  piece,  in  which  the  whole 
toAvn  of  Cloon  goes  jackdaw-catching,  owing  to  the  wise 
man  of  the  place  making  up  a  plan  to  give  relief  to  one 
of  the  villagers  in  sore  need  of  it,  without  her  knowing 
that  it  came  from  her  brother.  He  hits  upon  buying  her 
jackdaw  from  her  for  the  amount,  and  it  gets  about  the 
town  that  someone  is  buying  birds  for  large  sums,  and 
they  all  go  bird-catching.  It  was  first  played  at  the  Abbey 
on  February  23rd,  1907.  There  are  six  characters  in  the 
cast — 4  male  and  2  female. 

The  Rising  of  the  Moon.    A  Play  in  1  Act. 

Scene,  a  moonlight  quay,  near  a  flight  of  steps  leading 
down  to  the  water.  A  sergeant  is  watching  for  an  escaped 
prisoner  when  a  tattered  ballad  singer  joins  him,  and  they 
get  talking  about  old  times  as  they  sit  watching  on  an  up- 
turned barrel,  back  to  back.  The  ballad  singer  turns  out 
to  be  the  prisoner  the  sergeant  is  on  the  look-out  for,  but 
being  touched  by  recollections  of  his  youth,  the  sergeant 
shuts  his  eyes  to  his  escape.  This  is  one  of  the  gems  of 
the  Abbey  repertoire.  There  are  four  characters  in  the 
cast.  On  March  19th,  1907,  it  was  first  played  at  the 
Abbey. 

Dervorgilla.  A  Play  in  1  Act. 
Time,  1193.  In  which  the  old  Queen,  who  wrought  so 
much  havoc  in  her  "  young  youth  in  bringing  the  Eng- 
lish into  Ireland,  passes  quietly  out  of  life,  her  misdeeds 
coming  home  to  her  mind  shortly  before  her  death  by  a 
stray  word  from  a  singer  of  the  roads.  Sara  Allgood  made 
a  big  hit  as  "  Dervorgilla."  First  played  at  the  Abbey  on 
October  31st,  1907.  Cast  :  3  males,  3  females,  and  a  group 
of  boys  and  girls. 

and  Hyde  (Dr.  Douglas).  The  Poorhouse.  A 
Comedy  in  1  Act. 

One  of  two  old  men,  who  are  ever  abusing  each  other,  gets 
the  chance  to  depart  from  the  poorhouse,  but  he  refuses  to 


IRISH  PLAYS. 


263 


go  at  the  last  moment  unless  they  take  his  old  companion 
along  with  him.  This  request  is  refused,  and  soon  the 
two  old  fellows  fall  to  abusing  each  other  afresh  as  if 
nothing  had  happened.  This  piece  was  played  at  the  Abbey 
on  April  3rd,  1907.  Lady  Gregory  re -wrote  and  re -named 
it  "  The  Workhouse  Ward,"  and  the  new  version  was  pro- 
duced at  the  Abbey  on  April  20th,  1908.  In  its  latter  shape 
it  is  considered  one  of  the  most  laughable  of  Lady 
Gregory's  one -act  plays.  There  are  three  parts — two  old 
men  and  one  elderly  woman — in  the  cast. 

-  The  Image.    A  Comedy  in  3  Acts, 

The  scene  is  a  village  on  a  headland  in  Galwa}',  and  seven 
characters  are  introduced — 5  male  and  2  female.  The  piece 
is  made  up  of  squabbles  from  start  to  finish,  and  goes  to 
show  that  most  of  us  talk  too  much  and  do  too  little.  First 
played  at  the  Abbey  on  November  11th,  1909. 

-  The  Travelling  Man.    A  Miracle  Play  in  1  Act. 

This  piece  is  almost  too  delicate  to  get  over  the  foot- 
lights. In  the  person  of  a  "  travelling  man  "  our  Lord 
does  a  kindly  turn  to  a  friendless  girl,  and  in  after  years 
he  comes  to  her  house  and  plays  with  her  child  in  her 
absence.  On  her  return  she  does  not  recognise  him,  and 
orders  him  away,  and  it  is  only  when  he  is  gone  she  knows 
what  she  has  done.  First  played  at  the  Abbey  on  March 
3rd,  1910.  Cast  :  1  man,  1  woman,  and  a  child.  Scene,  a 
cottage  interior. 

-  The  Full  Moon.    A  Farce  in  1  Act. 

This  is  the  least  successful  of  all  Lady  Gregory's  short 
comic  sketches.  The  fun  arises  out  of  a  number  of  sup- 
posed to  be  sane  country  folk  thinking  themselves  mad 
for  the  time  being  owing  to  the  moon  being  at  its  full. 
Lunacy  is  too  painful  a  subject  to  build  laughter  upon, 
hence  the  comparative  failure  of  the  piece.  Cast  :  5  males 
and  3  females.  First  played  at  the  Abbey  Theatre  on 
November  10th,  1910.  In  this  and  some  of  her  later  pieces 
Lady  Gregory  quite  lost  her  gift  of  writing  agreeably  for 
the  stage. 

-  Coats.    A  Farce  in  1  Act. 

Scene,  a  coffee  room  in  a  country  hotel.  Time,  the 
present.  Characters,  three  men.  A  trifling  sketch,  in 
which  the  editors  of  two  local  papers,  by  the  mischance  of 


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an  exchange  of  overcoats,  are  made  to  read  their  own 
obituary  notices,  each  reading  what  the  other  had  written 
of  him.  The  fun  is  of  the  "  Box  and  Cox  "  order  of  farce. 
First  played  at  the  Abbey  Theatre  on  December  1st,  1910. 

  MacDaragli's  Wife.  Play. 

Started  on  board  the  White  Star  Liner,  "  Cymric,'*  on  her 
way  out  to  join  the  Abbey  Company  in  Boston,  September, 
1911.  The  play  is  founded  on  fact.  When  his  wife  died 
MacDaragh  was  unable  to  get  anyone  to  carry  her  body 
to  the  grave,  and  it  was  necessary  for  him  to  go  through 
the  countryside  playing  his  pipes  to  attract  body  bearers. 
Copyright  performance  at  Abbey,  Friday  afternoon.  Decern- 
ber  15th,  1911.  First  public  performance  at  Abbey,  by 
pupils  of  the  School  of  Acting,  on  January  11,  1912.  The 
piece  does  not  take  kindlv  to  the  stage.  It  is  too  talkey. 
Published  in  The  Outlook,  December  16th,  1911.  Cast  : 
1  male,  2  females  and  a  group  of  country  folk. 

N.B. — The  following  are  translations  from  the  Gaelic 
of  Dr.  Douglas  Hyde:  — 

  The  Marriage.    A  Play  in  1  Act.  Translated 

from  the  Gaelic  of  Dr.  Douglas  Hyde. 

Eaftery,  the  Connacht  poet  and  blind  fiddler,  comes  to 
the  house  of  a  poor  couple  who  have  just  been  married, 
and  he  is  invited  in  to  share  their  humble  meal  with  them. 
He  then  tells  them  to  go  call  the  neighbours  and  say 
Battery  was  inside,  and  there  was  going  to  be  a  wedding 
dance.  They  come  in,  bringing  presents  with  them,  and 
when  the  party  breaks  up  the  couple  embrace  in  glee,  and 
as  they  do  the  poet  slips  away,  leaving  the  plate  of  money 
collected  for  him  behind.  It  is  a  most  effective  little  play. 
Cast  :  2  males,  1  female,  and  a  number  of  neighbours. 

  The  Twisting  of  the  Rope.    A  Play  in  1  Act. 

Translated  from  the  Gaelic  of  Dr.  Douglas  Hyde. 

It  tells  how  the  Connacht  poet,  Hanrahan,  was  banished 
from,  a  farmer's  house  in  Munster  a  hundred  years  ago 
through  the  twisting  of  a  rope  of  hay.  When  the  play  was 
performed  in  Gaelic  at  the  Gaiety,  Dublin,  on  October  21st, 
1901,  Dr.  Hyde  filled  the  role  of  "  Hanrahan  "  to  the  life. 
Cast  :  1  man  4  women,  and  a  number  of  peasants. 


IRISH  PLAYS. 


265 


 The  Lost  Saint.    A  Play  in  1  Act.  Translated 

from  the  Gaelic  of  Dr.  Douglas  Hyde. 
Tells  how  an  old  man  prays  God  to  help  a  backward  little 
boy  to  learn  his  lessons  as  he  slept,  and  on  awakening  he 
can  repeat  his  task.  By  this  means  the  old  man  is  dis- 
covered to  be  the  "  lost  saint,"  whom  all  have  been  seek- 
ing for  many  a  long  day.  Cast :  2  men  and  a  number  of 
little  children.  Hyde  is  said  to  have  written  this  piece 
one  afternoon  at  Coole. 

  The  Nativity.  A  Miracle  Play  in  1  Scene.  Trans- 
lated from  the  Gaelic  of  Dr.  Douglas  Hyde. 

The  scene  is  laid  in  a  stable.  This  little  work  was  per- 
formed  in  Eccles  Street  Convent  a  few  years  ago.  This 
and'  three  other  translations,  from  the  Gaelic  of  Dr.  Hyde, 
are  published  in  Poets  and  Dreamers.  (Hodges,  Figgis 
and  Co.) 

'^Tlays  by  Padraic  Colum. 

  The  Saxon  Shilling.    A  Play  in  1  Act. 

It  vividly  depicts  the  dramatic  incident  of  a  country  lad 
who  has  taken  "  the  shilling,"  being  called  upon  to  assist 
at  the  eviction  of  his  own  people  and  of  his  refusal  to  do 
so,  and  of  his  being  shot  in  defending  them  from  the 
despoilers.  It  is  very  dramatically  worked  out  by  the 
youthful  playwright,  and  is  ever  and  always  sure  to  strike 
home  when  capably  enacted.  It  was  first  plaved  at  the 
Banba  Hall,  Dublin,  on  May  15th,  1903. 

 The  Land.    A  Play  in  3  Acts.  (Maunsel). 

It  is  one  of  the  sweetest,  yet  saddest,  of  peasant  plays,  and 
tells  of  the  longing  the  healthy  Irish  youth  of  both  sexes 
have  to  quit  their  country  for  America,  leaving  only  the 
old  and  infirm  to  work  the  land  at  home.  The  dialogue  is 
touched  with  true  poetry  that  ever  and  always  finds  an  echo 
in  the  hearts  of  all  Irish  folk.  The  scene  is  set  in  a  cottage. 
Time,  the  present  day.  Six  characters — 3  men  and  3 
women — and  a  group  of  peasants  make  up  the  cast.  The 
play  first  saw  light  at  the  Abbey  on  June  9th,  1905. 

  The  Fiddler's  House.    A  Peasant  Play  in  3  Acts. 

Paper  cover.    Cr.  8vo.    Is.  net.  (Maunsel). 

This  play  is  an  elaborating  of  the  ideas  contained  in  its 
author's  earlier  piece — Brol'cn  Soil — produced  at  the  Moles- 


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worth  Hall  on  December  3rd,  1903.  It  tells  of  the  longing 
of  an  old  fiddler,  who  has  settled  down  for  some  years,  to 
go  to  the  roads  again.  The  longing  ultimately  overmasters 
him,  and  he  wanders  out  of  his  home,  never  to  return. 
The  Fiddler's  House  was  first  plaved  at  the  Kotunda  on 
March  21st,  1907,  by  the  Theatre  of  Ireland.  It  is  full  of 
sweetness  and  beauty,  and  contains  a  splendid  character- 
study  of  the  old  fiddler. 

-  The  Miracle  of  the  Corn.  A  Mvsterv  Play  in 
1  Act. 

It  is  the  time  of  famine,  and  a  hard  man  has  much  corn 
stored,  but  refuses  to  give  any  to  the  sta-rving  poor.  His 
wife  is  more  tender-hearted,  and  is  touched  by  the  piteous 
cries  of  the  hungry  peasantry,  so  she  gives  freely  of  her 
husband's  store,  and  lo!  the  more  she  gives  the  more  she 
has.  The  little  play  is  almost  too  fanciful  and  fragile  for 
the  glare  of  the  footlights.  It  was  first  played  at  the 
Abbey  on  May  22nd,  1908,  by  the  Theatre  of  Ireland. 

-  The  Destruction  of  the  Hostel.    A  Plaj^ 

This  is  a  dramatic  arrangement  of  the  old  Saga,  The  De- 
struction of  Bruidhen  Da  Derga;  the  language,  which 
closely  follows  Dr.  Whitley  Stokes'  translation,  has  high 
tragic  beauty  and  dignity,  and  is  admirably  suited  for 
declamation.  The  words  are  full  of  the  music  of  sweet 
speech.  First  played  bv  the  boys  at  St.  Enda's  School  on 
February  5th,  1910. 

-  Thomas  Muskerry.     A  Play  in  3  Acts.  Is. 
(Maunsel). 

This  rather  sombre  play  of  middle-class  life  in  an  Irish 
country  town  was  produced  at  the  Abbey  on  May  5th, 
1910.  The  central  figure  in  the  piece  is  a  sort  of  "  King 
Lear  of  the  Workhouse,"  as  a  critic  aptly  styles  him^ 
whose  family  for  their  own  selfish  ends  ultimately  do  the- 
poor  old  fellow  to  death.  It  aims  at  being  reahstic,  and 
much  of  it  is.  Many  of  the  characters  are  admirably 
drawn,  and  give  excellent  scope  for  clever  character-acting. 
There  are  twelve  (10  male  and  2  female)  in  the  cast,  and 
three  scenes. 


IRISH  PLAYS. 


267 


Plays  by  J.  M.  Synge. 

 In  the  Shadow  of  the  Glen.    A  Peasant  Play  in  1 

Act. 

First  produced  by  Irish  National  Theatre  Society  in  the 
Molesworth  Hall  on  October  8th,  1903.  A  grimly  realistic 
little  comedy,  full  of  the  author's  strangely  rich-flavoured 
lyrical  prose.  An  old  man  who  is  married  to  a  young  wife 
pretends  to  be  dead  in  order  to  test  his  wife's  fidelity. 
The  scene  is  laid  in  a  cottage  among  the  Wicklow  hills, 
and  four  characters  are  introduced,  three  men  and  one 
woman.  This  play,  with  Riders  to  the  Sea^  is  published 
in  No.  24  of  Vigo  Cabinet  Series,  by  Elkin  Mathews.  Is. 

  Riders  to  the  Sea.  A  Tragedy  in  1  Act,  depicting 

an  incident  in  the  lives  of  the  tisher  folk  on  the 
Aran  Islands. 

It  is  probably  the  most  perfect  little  serious  drama  that 
has  as  }  et  seen  the  light  of  the  stage  during  the  modern 
dramatic  movement  in  Ireland.  The  episode  the  dramatist 
has  chosen  to  mirror  forth  for  us  is  heart-rending  in  its 
appeal.  Three  women  and  one  man,  with  a  group  of  vil- 
lagers, complete  the  cast.  The  part  of  the  sorrowing  old 
mother  is  one  that  any  emotional  actress  might  be  proud 
to  interpret.  The  first  performance  of  this  piece  was 
given  in  the  ^lolesworth  Hall,  Dublin,  on  February  25th, 
1904.  It  is  generally  considered  Synge 's  masterpiece,  and 
has  won  unstinted  praise  from  many  of  the  world's  ablest 
dramatic  critics.    The  scene  is  a  cottage  interior. 

  The  Well  of  the  Saints.    A  Play  in  3  Acts. 

Uniform  with  "  The  Playboy."  Crown  8vo.,  2s. 
net.  (Maunsel). 

A  legendary  play,  set  amongst  the  mist-clad  hills  of  Wick- 
low.^  It  tells  the  story  of  how  a  pair  of  blind  old  beggars 
regain  their  sight  by  the  aid  of  the  water  from  a  holy  well, 
and  losing  it  again,  wish  to  remain  dim  for  the  rest  of 
their  natural  lives,  all  their  hopes  being  shattered  when 
they  beheld  the  world  around  them.  The  play  is  powerful, 
but  depressing,  and  contains  much  of  the  author's  most 
beautiful  word-pictures  of  nature.  The  play  contains  five- 
principal  characters  (3  male  and  2  female)  and  a  group  of 
peasants.  Two  outdoor  scenes  are  required.  It  was  first 
produced  at  the  Abbey  on  February  4th,  1905. 


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-  The  Playboy  of  the  Western  World.  A  Comedy 
in  3  Acts.'   pp.96.    2s.  (Maunsel). 

This  is  a  fantastic  study  of  Irish  life.  On  its  first  produc- 
tion at  the  Abbey  on  Saturday,  January  26th,  1907,  and 
the  week  following,  a  series  of  rows  took  place  that  have 
since  become  theatrical  history.  Originally  the  piece  was 
played  in  realistic  fashion,  now  it  is  treated  more  as  a 
fantasy.  It  tells  of  a  youth  who  is  supposed  to  have  killed 
his_  father,  and  is  worshipped  by  all  the  peasantry  because 
of  the  fact — especially  by  the  womankind.  On  the  dis- 
covery that  the  father  still  lives  they  all  turn  against  him, 
and  will  have  nought  to  do  with  him.  This  much- 
discussed  comedy  is  full  of  "  poetry  talk,"  mixed  up  with 
regrettably  strong  expressions.  The  same  scene — an  interior 
— does  for  the  three  acts.  It  may  be  mentioned  that  this 
pla}'  was  greeted  with  hisses  when  produced  in  Boston  on 
October  23rd,  1911,  and  caused  a  riot  in  the  theatre  at  New 
York  on  November  27th,  1911.  It  has  come  to  be  known 
as  the  ''police-protected  "  drama. 

The  entire  company  were  arrested  at  Philadelphia  on  the 
plea  that  this  play  was  immon^al,  on  Wednesdav,  January 
17th,  1912. 

-  The  Tinkers'  Wedding.  Uniform  with  Tlie 
Playboy."    2s.  net.    (Maunsel)  . 

This  com^edy,  in  three  short  acts,  has  never  yet  been 
played  in  Ireland.  It  was  produced  on  November  11th, 
1909,  at  His  Majesty's  Theatre,  London.  The  cast  com- 
prises three  tinkers  (one  man  and  two  women)  and  a 
priest;  and  the  incidents  depicted  arise  out  of  the  priest's 
refusing  to  marry  a  pair  of  tinkers.  The  tone  and  treat- 
ment of  this  piece  makes  its  performance  before  an  Irish 
audience  impossible.  J.  M.  Synge  died  on  the  24th  of 
March,  1909,  aged  37  years. 

-  Deirdre  of  the  Sorrows.  10s.  6d.  (Cuala  Press, 
Dundrum,  Co.  Dublin.) 

A  legendary  play  in  three  acts,  founded  on  the  tragic  story 
of  Deirdre 's  love  for  Naisi,  and  the  coveting  of  her  person 
by  old  King  Conchubar.  Many  of  our  dramatists  have 
tried  their  hand  on  the  legend,  but  none  have  humanised 
the  story  so  completely  as  Synge.  He  draws  the  character 
of  Deirdre  as  an  unsophisticated  child  of  nature,  and  brings 
her  out  of  the  world  of  dreams  into  the  land  of  flesh  and 
blood  for  the  first  time.  The  play  was  produced  at  the 
Abbey  on  the  13th  January,  1910.    It  contains  some  ten 


IRISH  PLAYS. 


269 


characters  and  three  scenes.  Incidental  music  composed 
by  John  F.  Larchet. 

N.B. — The  complete  works  of  J.  M.  Synge  have  been 
published  by  Maunsel  and  Co.,  in  4  vols.,  24s.  the  set; 
and  also  the  plays  in  separate  ones  at  2s.  each. 

*  Johnstone  (Robert).    The  Old  Land.    A  Romantic 
Irish  Drama  in  5  Acts. 

A  '98  play,  full  of  stirring  incidents.  J.  W.  Whitbread 
offered  a  prize  of  £100  for  the  best  '98  play,  and  this  piece 
was  awarded  the  prize.  First  played  at  Queen's,  Dublin, 
on  April  13th,  1903.    Cast  :  10  males  and  4  females. 

*Davies  (Hubert  Henry).   Cousin  Kate.   Comedy  in  3 
Acts. 

A  charming  love  story,  in  which  an  Irishman  figures.  First 
played  at  the  Haymarket,  London,  June  18th,  1903.  Ellis 

Jeffreys  appeared  in  the  title  role,  and  Cyril  Maude  as 
"  Heath  Desmond." 

*RussELL  (George),  better  known  as  Deirdre.  A 

Play  in  3  Acts.  Is.  Tower  Press  Booklets.  (Maun- 
sel). 

Of  all  the  plays  built  up  on  the  legend,  this  is  probably  the 
most  beautiful  and  fanciful.  It  is  full  of  the  charm  of 
musical  speech,  and  keeps  the  story  in  its  proper  old- 
world  atmosphere  of  spells  and  weird  happenings.  The 
figures  move  as  in  a  dream-world,  and  visions  of  loveliness 
and  rare  charm  unfold  themselves  as  the  fateful  career  of 
Deirdre  unfolds  itself.  The  spirit  of  love  of  country  also 
is  wafted  like  a  whisper  of  summer  wind  through  the  work, 
which  gives  it  added  charm.  It  was  first  played  by  the 
Irish  National  Theatre  Society  in  Dublin  on  April  2nd, 
1902.  The  cast  comprises  eight  male  and  two  female 
characters.  The  play  had  been  successfully  produced 
under  the  greenwood  tree  "  at  Dun  Emer,  Dundrum,  Co. 
Dublin,  in  August,  1903.  Mr.  Russell  was  born  at  Lurgan, 
Co.  Armagh,  in  1867. 

*KiRWAN  (Patrick).  The  Fotherin^ay.   An  Adaptation 
in  1  Act  from  Thackeray's  "  Pendennis.'' 

The  scene  is  laid  at  Captain  Costigan's  quarters  at 
Chatteris;   and  the  Irish  adventurer  and  the  provincial 


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"  star  " — the  Fotheringay — are  the  principal  characters. 
Cast  :  4  males  and  1  female.  Played  for  the  first  time  at 
the  Bijou,  Bayswater,  October  29th,  1903. 

*O^Beirne  (J.).  .The  Doctor  (An  Doctuir).  A  Bi- 
lingual Play  in  1  Act. 

Played  by  the  Tamainn  Village  Company  at  Oireachtas, 
Rotunda,  Dublin,  August  1st,  1904.  Michael  Coniff,  who 
made  such  an  impression  as  Raftery,  the  Blind  Fiddler,  in 
The  Marriage,  when  revived  by  the  Abbey  Theatre  School 
of  Acting,  on  November  15th,  1911,  filled  the  role  of 
"  boy  "  in  this  piece.  "  The  Doctor  "  shows  the  absurdity 
of  sending  an  Imglish-speaking  medical  man  amongst  Irish- 
speaking  people. 

*BuTLER  (O'Brien)  and  Chesson  (Nora  Hopper).  The 
Sea  Swan.  An  Irish  Legendary  Grand  Opera  in  3 
Acts.  Music  by  O'Brien  Butler,  libretto  by  Nora 
Hopper-Chesson . 

First  production,  Theatre  Royal,  Dublin,  on  Deceniber  7th, 
1903.  Mrs.  Hopper-Chesson  was  born  of  an  Irish  father 
and  a  Welsh  mother,  at  Exeter,  in  1871. 

Connell"  (Henry) — Henry  Mangan.  Robert  Emmet. 
Specially  written  Centenary  Play  in  3  Acts. 

First  played,  October  31st,  1903,  in  Molesworth  Hall,  and 
after  being  revised  and  partly  re-written,  played  at  the 
Abbey  by  the  National  Players  on  November  3rd,  1906.  A 
good  stirring  drama,  winding  up  with  an  excellent  repre- 
sentation of  Emmet's  trial,  in  which  the  young,  ill-fated 
patriot  delivers  his  great  speech  from  the  dock.  The  play 
is  published  by  M.  H.  Gill  and  Son. 

O'Hare  (F.  J.).  The  Renegade.  (A  Dramatic  Story  of 
'98.)   An  Irish  Play  in  4  Acts. 

One  of  the  endless  plays  that  cluster  aroimd  the  year  '98, 
when  the  boys  were  all  scattered  and  bate.''  First  played 
at  Queen's,  Dublin,  on  June  4th,  1906.    Cast:  14  males 
and  4  females. 

Morgan  (Mrs.  Nash).   Terence.    An  Irish  Opera. 

Produced  at  the  New  York  Theatre,  January  5th,  1904, 
with  Olcott  as     Terence."    The  Chief  ingredients  of  the 


IRISH  PLAYS. 


271 


piece  are — a  hero  in  disguise  as  the  driver  of  a  coach,  a 
rascally  lawyer  and  lost  estates,  a  villain  in  the  opposing 
lover,  and  a  maiden  seemingly  beyond  the  reach  of  the 
humble  suitor  in  disguise. 

'^Tlays  by  George  Bernard  Shaw. 
  John  Bull's  Other  Island,  etc.     pp.  356.  (Con- 
stable), 6s. 

This  is  more  a  delightful  "  discussion  "  of  the  Irish  ques- 
tion, from  every  point  of  view,  in  four  acts,  than  a  play 
in  the  ordinary  acceptance  of  the  term.  It  is  full  of  humour 
and  razor-edged  satire,  and  makes  a  really  splendid  enter- 
tainment. The  portrait  of  the  cock-sure  Englishman — 
Broadbent — is  conceived  and  built  up  with  delicious 
^satirical  result.  There  are  as  many  as  ten  characters  in 
the  cast — 8  male  and  2  female.  The  play  was  first  pro- 
duced at  the  Court  Theatre,  London,  on  November,  1,  1904. 
This  play  was  originally  written  for  the  Abbey  Company, 
but  not  accepted  by  them.  Shaw  was  born  in  Dublin  on 
July  26,  1856. 

  Press  Cuttings.    A  Topical  Skit,  in  which  the 

character  of  "  Mrs.  Farrell,"'  an  Irish  charwoman, 
appears. 

First  produced  at  the  Court,  London,  on  July  9th,  1909. 
Cast  :  3  males  and  3  females. 

■         Man  and  Superman.    Play  in  3  Acts. 

Period,  the  present.  Originally  played  on  May  23rd,  1905, 
at  Court  Theatre,  London.  Cast  :  6  males  and  5  female-s. 
It  tells  how  man  is  the  hunted,  woman  the  hunter 
always.  There  is  one  Irish  character  in  the  play,  "  Mr. 
Malone,"  an  Irish-American.  The  fine  old  Dublin  actor, 
J.  D.  Beveridge,  originally  filled  the  role  of  "  Old  Malone.*' 

  The  Doctor's  Dilemma.    A  Tragedy  in  4  Acts  and 

an  Epilogue. 

The  dilemma  is  one  between  love  and  duty.  A  doctor  finds 
himself  madly  in  love  with  the  wife  of  a  patient  who  lies 
at  the  point  of  deatli — his  skill  might  save  him;  will  he 
use  it?  That's  the  question.  An  Irish  common-sense 
doctor — Sir  Patrick  Cullen — is  a  prominent  character  in  the 
piece.  Cast :  11  males  and  3  females.  Originally  played 
at  the  Court,  London,  on  November  20th,  1906. 


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  Fanny's  First  Play.     An  easy  play  for  a  little 

theatre,  in  3  acts,  an  induction,  and  an  epilogue. 

It  is  a  play  within  a  play.  The  induction  and  epilogue 
take  place  in  a  country  house  in  Cambridge,  taken  for  the 
occasion  by  Count  O'Dowde,  before  the  curtain.  The  three 
acts  between  are  those  of  Fanny's  "  first  play."  Fanny  is 
the  daughter  of  an  Irishman  who  lives  at  Venice,  and 
merely  takes  the  house  at  Cambridge  in  order  to  produce 
his  daughter's  play  therein.  Some  four  dramatic  critics 
are  introduced  into  the  piece  to  poke  fun  at.  In  the  play 
there  are  5  male  characters  and  4  female.  The  identity 
of  the  author  was  kept  until  after  the  first  performance, 
when  the  mantle  fell,  by  general  consent,  on  the  shoulders 
of  G.  B.  Shaw.  First  played  at  the  Little  Theatre,  London, 
on  "Wednesday  (afternoon),  April  19th,  1911. 

*Plays  by  Lewis  Purcell  (Parkhill). 

  The  Reformers.   A  Satirical  Coined}^  in  3  Acts. 

First  plaved  bv  Ulster  Literary  Theatre,  at  Belfast,  Decem- 
ber, 1904. 

  The  Enthusiast.   A  Play  in  1  Act. 

Time,  present  day.  It  tells  of  a  youth  who  wishes  to  bring 
the  Orange  and  Green  together  in  the  Black  North,  and 
the  hopelessness  of  his  enthusiastic  endeavour.  First 
played  by  the  Ulster  Literary  Theatre,  at  Belfast,  on  May 
5th,  1905.    "  Purcell  "  is  the  pen  name  of  Mr.  Parkhill. 

  and  ]\IacNamara  (Gerald).     Susannaii  and  the 

Sovereigns. 

A  burlesque,  in  many  scenes,  in  which  the  love  of  Kings 
William  and  James  for  a  certain  maiden,  called  Susannah, 
is  entertainingly  and  cleverly  set  forth.  First  played  by 
the  Ulster  Literary  Theatre  at  Belfast. 

  The  Pagan.  A  Comedy  in  2  Scenes. 

Period,  the  Sixth  Century.  An  old-wmld  comedy,  in  which 
a  young  and  beautiful  Christian  maiden  has  many  suitors, 
but  ultimately  gives  her  heart  to  a  fine,  manly  young 
pagan.  The  wooing  of  the  many  suitors  makes  for  much 
merriment.  Cast  :  7  males  and  1  female.  First  played  by 
the  Ulster  Literary  Theatre,  at  Belfast,  on  December  17th, 
1906 


IRISH  PLAYS. 


273 


Russell  (T.  O'Neill).  The  Last  Irish  King.  3  Acts. 
6d. 

A  drama  in  blank  verse,  full  of  vigorous  declamatory 
writing,  and  the  sentiments  expressed  are  of  the  popular 
kind.  First  played  at  Cork  on  December  9th,  1904,  at 
the  first  performance  given  by  the  Cork  National  Theatre 
Society. 

 Eed  Hugh.  3  Acts,  with  music  of  Song  of  Vic- 
tory after  the  Battle  of  the  Yellow  Ford,  by  Dr. 
Annie  Patterson.  6d. 

A  play  bristling  with  strong,  popular,  declamatory  speeches 
in  blank  verse  and  many  stirring  incidents.  An  interesting 
treatment  of  an  excitingly  dramatic  period  in  Irish  history. 
Played  for  the  first  time  in  Dublin,  by  the  Pioneer 
Dramatic  Society,  on  April  12th,  1909.  Cast :  10  males,  3 
females,  and  a  group  of  warriors,  etc. 

Maol  (Conan).  Hugh  O'Neill.  Play. 

Produced  at  the  distribution  of  prizes,  Ursuline  Convent, 
Blackrock,  Cork,  by  pupils  of  the  Convent,  October,  1904. 
The  author's  real  name  is  P.  J.  O'Shea. 

Fox  (Max).  A  Day  in  Paddy's  Market.  Farcical  Play, 
with  music,  in  3  Acts. 

Fleetwood,  Queen's,  November  14th,  1904. 

='Bllnt  (Wilfred  Scawen).    Fand  of  the  Fair  Gheek. 
A  3-Act  Tragedy  in  Rhymed  Verse. 

The  second  act — in  Fairyland — was  omitted  in  representa- 
tion  at  the  Abbey  when  first  produced  on  April  20th,  1907. 
It  tells  of  the  wooing  and  charming  away  of  Cuchulain  by 
Fand,  a  fairy,  to  the  Land  of  the  Ever  Young,  and  of  his 
return  to  earth  again.  As  a  stage  play  it  was  scarcely  con- 
vincing.   Privately  printed,  December,  1904. 

*HoBsoN  (Bulmer).   Brian  of  Banba.     A  Play. 

First  played  by  Ulster  Literary  Theatre,  at  Belfast,  Deccm- 
ber,  1904. 

u 


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'^'Ryax  (Joseph).  A  Twinkle  in  Ireland's  Eye.  An 
Extravaganza  in  2  Acts, 

This  skit  is  full  of  humorous  small  shot  at  the  expense 
of  those  who  most  need  ridicule  in  our  midst,  and  their 
name  is  legion,  be  it  truthfully  said.  The  scene  in  act  one 
is  a  Room  in  the  King's  Palace,  Dalkey;  and  in  act  two — 
a  Room  in  the  Castle,  Ireland's  Eye.  The  time,  not  long 
ago.  At  the  time  of  its  production — November  3rd,  1903 — 
it  was  keenly  relished  by  all  who  witnessed  it. 

  An  International  Exhibition.     A  sequel  to  ^'  A 

Twinkle  in  IrelancVs  Ej-e."     A  Skit  in  2  Acts. 

It  was  first  played  by  the  National  Players  at  the  Moles- 
worth  Hall,  Dublin,  on  October  29th,  1904,  and  caused 
much  amusement.  There  are  eight  characters  in  the  cast. 
The  pity  of  it  is  that  the  best  lines  in  skits  of  this  sort, 
unfortunately,  are  but  short-lived;  hence  when  revived 
the  matter  has  to  be  skilfully  up-to-dated  to  make  it  go 
with  renewed  relish. 

•'^Bartiioleyus  (A.  O'D.).  Swift  and  Vanessa.  Drama 
in  4  Acts  (founded  on  Lady  Duff  Gordon's  transla- 
tion of  a  romance  by  Leon  do  Wailly\ 

Produced,  Royalty,  London,  January  llth,  1904. 

•^"HooD  (Captain  Basil).  Love  in  a  Cottage.  Comedy 
in  4  Acts. 

All  the  principal  people  in  the  piece  are  Irish,  and  three 
out  of  the  four  acts  take  place  in  Ireland.  The  plot  lays 
bare  the  machinations  of  Lady  Margaret,  the  worldly  aunt 
of  Eileen,  who  wishes  to  marry  her  niece  to  a  fool  with 
mone}',  when  her  heart  is  given  to  a  penniless  captain. 
Everything  comes  right  in  the  end,  as  it  should  in  a 
pretty  love  story.  First  played  at  Terry's,  London,  on 
January  27th,  1904.  Captain  Hood  was  born  April  5th, 
1864. 

■^•Plays  by  Seumas  MacManus. 

 The  Hard-Hearted  Man.  A  Play  in  3  Acts. 

An  effective  propagandist  piece,  aimed  at  the  evil  effects  of 
emigration — especially  on  the  old  who  are  left  at  home  by 


IRISH  PLAYS. 


275 


the  rambling  youngsters.  Scene,  cottage  interior.  Char- 
acters, 4  male,  1  female,  and  3  children.  First  played  in 
the  open  air  at  Rathmines,  Co.  Dublin,  July  10th,  1904. 

 The  Townlaiid  of  Tamiiey.  A  Folk  Play  in  1  Act. 

Three  brothers  consult  the  local  wise  man  as  to  which  of 
them  is  entitled  to  the  townland  of  Tamney.  The  will 
bothers  him,  and  he  thinks  of  other  means  to  decide,  until 
at  last  he  awards  it  to  big  Teague,  who  threatens  to  de- 
nounce him  "  as  a  worthless  old  man,"  if  he  gets  not  the 
townland.  That  settles  it — the  land  is  his.  There  are  five 
characters.  First  played  by  the  Irish  National  Theatre 
Society,  in  Molcsworth  Hall,  January  14th,  1904. 

 The  Resurrection  of  Dinny  O'Dowcl.   A  Farce  in 

3  Scenes. 

Dinny,  who  is  supposed  to  be  dead,  comes  back  and 
frightens  everyone  almost  out  of  their  wits,  and  the  land- 
lord into  giving  a  lease  for  ever  of  farm  to  Mrs.  O'Dow^d. 
A  merry  little  piece.  First  played  by  the  National  Players 
on  October  28th,  1904.  Cast  :  5  males  and  1  female,  and 
peasant  boys  and  girls. 

  The  Lad  from  Largyniore.   A  Farce  in  1  Act. 

A  very  laughable  piece,  in  which  the  "  lad  "  sees  through 
a  window  the  servant  stowing  away  things  in  various 
places,  and  also  hiding  her  special  "  peeler,"  whom  she 
has  been  entertaining  in  the  absence  of  her  master,  on  the 
false  alarm  of  his  return.  When  the  coast  is  clear  the 
"  lad  "  enters  and  begs  an  alms,  but  is  refused,  on  the  plea 
of  nothing  being  in  the  house.  He  asks  for  a  sieve,  and 
says  he'll  be  able  to  get  some  food  by  its  aid.  The  servant 
brings  it  him,  and  he  tells  where  ever3^tliing  is  he  saw  her 
hide  away,  even  to  the  constable.  First  played  at  the 
Rotunda,  Dublin,  on  February  27th,  1905.  Cast  :  3  men 
and  1  girl. 

  The  Woman  of  Seven  Sorrows.    An  Allegory  in  1 

Act. 

Showing  how  all  her  grown-up  sons  and  daughters  desert 
her — Erin — the  Woman  of  Seven  Sorrows — in  her  hour  of 
need;  huis  the  ringing  voices  of  the  young  Gael  cheer  her 


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GUIDE  TO  BOOKS  ON  IRELAND. 


sorrowing  heart  into  smiles  of  hope  again,  so  that  all  may 
yet  be  well  with  her.  There  are  fifteen  speaking  parts  in 
this  inspiring  little  play,  and  also  a  number  of  children. 
First  played  in  Molesworth  Hall,  November  1st,  1905. 

  The  Leading  Road  to  Donegal.    A  Play  in  1  Act. 

A  husband  and  wife  quarrel  over  a  trifle,  and  they  agree 
that  whoever  speaks  first  gives  in  he  or  she  was  in  the 
wrong.  Several  come  in  to  enquire  for  the  leading  road 
to  Donegal,  and  get  no  answer  from  the  pair,  until  at 
last  one  breaks  the  silence,  and  the  quarrel  ends.  First 
performed  by  the  National  Players  on  November  1st,  1905. 

•         Orange  and  Green.   A  Play  in  4  Scenes  (founded 

on  Gerald  Griffin's  ballad  of  the  same  name). 
An  interesting  and  exciting  little  drama.    First  played  by 
the  National  Players  at  the  Abbey  on  November  2nd,  1906. 
Cast  :  10  males. 

  Bong  Tong  Come  to  Balrudderry.    A  Farce. 

Played  by  Chapelizod  Dramatic  Class  in  December,  1908. 

  The  Oath.     A  Play  in  1  Act  (adapted  by  F. 

Keenan) . 

Produced  at  Fifth  Avenue,  New  York,  October  17th,  1910. 
Mr.  MacManus  was  born  at  Mountcharles,  Donegal,  on 
December  31st,  1868. 

^TTlgar  (Gladys).    Mr.  Sheridan.    Comedy  in  4  Acts. 

Mr.  Arthur  Bourchier  filled  the  title  role  in  the  cast  at  the 
Garrick,  London,  in  March,  1907.  First  performed  at 
Theatre  Royal,  Brighton,  August  29th,  1904.  Cast  :  15 
males  and  4  females. 

^'Hamilton  (John).    The  Magic  Sieve.     A  Play  in  2 
Scenes.    (Prize  Play.) 

A  pleasant  little  peasant  comedy.  First  played  by 
National  Players  on  October  31st,  1904,  at  Molesworth  Hall, 
Dublin.  Cast  :  5  males  and  3  females.  Scenes,  a  country 
road,  and  cottage  interior. 

 The  District  Councillor.    In  3  Acts. 

Not  yet  played. 


IRISH  PLAYS. 


277 


Stephens  (Robert  Neilson)  and  Swete  (E.  Lyall).  Miss 
Elizabeth's  Prisoner.  A  Romantic  Play  in  4  Acts. 
Scone  laid  in  America  during  the  War  of  Independence. 
When  the  piece  was  played  at  the  Gaiety,  Dublin,  in 
November,  1904,  Thomas  Kingston  filled  the  role  of  "  Cap- 
tain Harry  Peyton."  "  Major  Murphy,  of  the  King's 
American  Volunteers,"  is  the  Irish  character  in  the  play. 
Cast  :  10  males  and  4  females. 

BiDWELL  (Patrick),  libretto  and  lyrics  by,  and  Esposito 
(Michele),  arranged  and  harmonised  by.  Peggie 
Machree.  Musical  Play  in  3  Acts. 
Produced,  Prince  of  Wales'  Theatre,  Grimsby,  November 
7th,  1904. 

Campbell  (Joseph).    The  Little  Cowherd  of  Slainge. 
A  Dramatic  Legend  in  Verse  in  2  Scenes. 
A  poetic  little  play,  in  which  the  heroine  goes  mad  after 
the  fashion  of  Ophelia  in  Hamlet,    First  produced  at  Bel- 
fast,  by  the  Ulster  Literary  Theatre,  on  May  4th,  1905. 

Whitbread  (Miss  Nellie).  The  Blackmailers!  An 
Irish-American  Drama  in  4  Acts.  With  America 
as  background,  but  many  of  the  characters  Irish. 

A  play  of  frankly  sensational  type.  First  played  at 
Queen's,  Dublin,  on  January  9th,  1905. 

O'Heer  (P.).  The  Conversion  of  the  Cailin.  A  Play 
in  4  Acts. 

Played  at  St.  Teresa's  Hall,  Clarendon  Street,  on  July  17th, 
1905,  by  pupils  of  Senior  Schools,  St.  Kevin's  and  Black- 
pitts. 

Markham  (Thomas).  The  Trail  of  the  Serpent.  A 
Comedy. 

Played  at  Banba  Hall,  Dublin,  on  May  28th,  1905. 

=^=GwYNN  (Stephen).   Robert  Emmet.   A  Play.  (1905). 

Never  acted  nor  printed,  as  far  as  I  know.  He  had  the 
Abbey  Theatre  in  his  mind  in  writing  it,  but  he  didn't 
find  its  doors  open  to  receive  it.  He  then  wrote  and  pub- 
lished a  romance  on  the  subject  instead. 


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Coyne  (Gardiner)  and  Whitbread  (J.  W.).  Willy 
Reilly !  or,  The  Fair  Lady  of  Boyle.  An  Irish 
Drama  in  4  Acts  (founded  on  William  Carleton's 
novel  of  that  name). 

A  popular  play  on  the  subject.  First  time,  Queen's,  Dub- 
lin, April  24th,  1905.    Cast  :  16  males  and  3  females. 

Parry  (Edward  F.)  and  Mouillot  (Frederick).  What 
the  Butler  Saw.   A  Comedy-Farce  in  3  Acts. 

Originalh/  played  at  Theatre  Royal,  Dublin,  on  March  6th. 
1905,  under  title  of  While  the  Cat's  Aivay.  The  action  of 
the  play  takes  place  at  Foden  Wells  Hydropathetic  Estab- 
lishment. Period,  the  present.  The  fun  centres  round  the 
doings  of  the  guests.  A  good-natured  Irishman,  Jack 
Barrington,  takes  a  leading  part  in  putting  things  out  of 
order,  that  leads  up  to  "  What  the  Butler  Saw!  "  Cast  : 
9  males  and  9  females. 

The  Miser's  Matchmaking.  Play. 

Produced  at  Court  Theatre,  Galway,  on  March  17th,  1905. 

OTjOUCtHlin  (John).  The  Nation  Builder.   A  Play. 

First  produced  by  the  Cork  National  Theatre  Society  on 
]\Iarch  6th,  1905. 

Slaughter  (Walter).     Barney  in  Connemara. 

The  music  of  scene  in  The  Coliseum,  London,  1905, 
arranged  and  written  by  Slaughter. 

••Tlays  by  William  Boyle. 

— —  Shane  the  Proud.  An  Historical  Drama,  with  the 
Irish  Chieftain's — Shane  O'Neill — doings  as  the 
kernal  of  the  plot. 

A  fine,  stirring,  vigorously-written  play,  sailing  close  to 
historical  facts,  with  many  episodes  built  on  impressive 
spectacular  lines  that  would  require  a  big  stage  for  proper 
display. 


IRISH  PLAYS. 


279 


■         The  Building  Fund.  (Maunsel). 

This  is  a  comedy,  in  three  acts,  of  the  farming  class  in 
Louth.  It  contains  two  admirably  drawn  characters  of  a 
miserly  mother  and  her  equally  miserly  son.  It  is  full  of 
dramatic  surprises,  and  only  requires  one  scene.  It  was 
first  produced  at  the  Abbey  on  April  25th,  1905,  and  is  one 
of  the  most  popular  pieces  on  the  repertoire  of  that  theatre. 
The  cast  is  small — two  women  and  three  men.  Boyle 
knows  his  countrymen  and  women  through  and  through, 
and  hits  off  their  follies  as  well  as  their  good  qualities  with 
tlie  sure  touch  of  a  born  dramatist.  This  piece  would  be 
acceptable  to  any  Irish  audience.  Mr.  Boyle  is  a  native  of 
Dromiskin,  Co.  Louth.    He  was  born  in  1853. 

  The  Eloquent  Denipse3\  A  Comedy  in  3  Acts.  Is. 

(First  published  by  0't)onoghue  and  now  by  GilD. 

The  chief  character  in  this  merry  satirical  farce  of  modern 
political  life  in  an  Irish  country  town  is  one  Jeremiah 
Dempsey,  a  publican,  who  tries  to  face  both  ways  in  poli- 
tics and  please  all  parties,  with  the  result  he  just  escaped 
coming  to  the  wall  in  the  end.  It  was  first  produced  at 
the  Abbey  on  January  20th,  1906,  and  of  all  the  plays  pro- 
duced there  up  to  the  present,  it  has  proved  by  far  the 
most  popular.  As  a  "  laugh -raiser  "  it  has  few  equals, 
and  as  there  are  "  Dempseys  "  to  be  met  with  all  over  Ire- 
land, it  is  bound  to  be  popular  wherever  played.  One 
scene — an  interior — is  only  required,  and  seven  characters 
(2  females  and  5  males)  in  the  cast.  W.  G.  Fay  created 
the  title  role.  Arthur  Sinclair  ha^  since  made  it  one  of  his 
most  popular  successes. 

  The  Mineral  Workers.    A  Play  in  4  Acts.  Is. 

(Gill). 

The  longest  of  the  author's  pieces,  and  some  consider  it 
his  best.  It  is  chiefly  concerned  with  a  returned  Irish- 
American,  who  discovers  the  mineral  qualities  of  the  soil 
in  a  district,  and  endeavours  to  gain  over  the  country 
people  to  his  ideas  on  mining  instead  of  tilling  the  soil,  as 
they  had  always  done  in  the  past.  The  play  is  full  of 
excellent  character-sketches  splendidly  contrasted.  A 
couple  of  simple  scenes  are  required,  and  two  women  and 
eight  men  are  to  be  found  in  the  cast.  It  met  wdth  instant 
success  on  its  first  production  at  the  Abbev  on  October  20th^ 
1906, 


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  The  Confederates.  A  Duologue,  with  Mr.  and  Mrs. 

W.  G.  Fay  in  cast. 

First  plaj'ed,  "  original  night,"  Irish  Literary  Society, 
London,  on  April  3rd,  1909. 

^         The  Dawning  of  the  'Day.  Play  in  3  Acts,  with  a 

Manganesque  character  as  central  figure. 

 Family  Failing.  A  Comedy  in  3  Acts. 

It  is  about  an  idle  family  of  the  better  farming  class  come 
down  in  the  world,  their  dodges,  twists  and  turnings.  An 
uncle,  who  has  been  abroad  in  the  world,  comes  home  and 
tries  to  move  them.  He  ends  by  falling  into  their  ways 
under  the  charm  of  their  idleness.  Some  fiercely  energetic 
neighbours  help  to  frame  the  picture.  Accepted  by  the 
Abbey. 

  The  Love  Charm.   A  Farcical  Sketch  in  1  Act. 

Cast  :  2  males  and  2  females..  Two  w^omen  drink  of  a  love 
potion,  and  make  a  "  dead  set  "  on  a  bachelor,  to  his  bother- 
ation, after  partaking  of  the  dose.  First  played  at  Abbey  on 
Monday,  September  4th,  1911,  on  the  occasion  of  Mr.  W. 
A.  Henderson's  complimentary  performance. 

'••Gilbert  (Lady).   Boycotting.   A  Play  in  3  Scenes. 

Some  pretty  love-making  is  agreeably  woven  around  the 
"  boycotting  "  of  a  Major  0 'Flattery.  First  produced  on 
October  30th,  1905,  by  the  National  Players  in  Molesworth 
Hall.    Cast  :  5  males,  7  females,  and  "  supers." 

O'DoNovAN  (Michael).   The  Jokers.   A  Farce. 
First  played  at  Loughrea  on  January  16th,  1906. 

■'^Carr  (Joseph  W.  Comyns).      Tristram  and  Iseult. 
Play  in  4  Acts. 

Produced  by  Otho  Stuart,  Adelphi,  London,  1906.  Cast : 
15  males  and  5  females.  Drama  written  in  blank  verse. 
(Published  by  Duckworth  and  Co.,  London,  1906.)  Mr. 
Carr  was  born  in  1849, 


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281 


"  Rutherford  "  (John).   Boy  O'Carroll."   A  Romantic 
Irish  Comedy  Drama  in  4  Acts. 

Full  of  war's  alarms.  First  played  at  Newcastle,  Theatre 
Royal,  April  22nd,  1906,  with  Martin  Harvey  as  the  hero. 
"  Rutherford  "  stands  for  the  pen  name  of  two  ladies — 
Misses  Beulah  Marie  Dix  and  E.  G.  Sutherland. 

Leamy  (Edmund).    Cupid  in  Kerr3^    A  Comedy  in  3 
Acts. 

A  comedy  full  of  sweetness  and  charm.  First  played  at 
Queen's,  '^Dublin,  on  April  19th,  1906.  Mr.  Leamy  was 
born  in  Waterford  on  Christmas  Day,  1848. 

Denvir  (John).    Rosaleen  Dhu;  or,  The  Twelve  Pins 
of  Bur-a-Bola.    A  Drama  in  3  Acts. 

A  popular  type  of  Irish  drama,  full  of  adventure,  with  tlie 
scenes  laid  both  in  Ireland  and  with  the  French  Army  in 
Algiers.  It  tells  of  true  love  that  did  not  run  smooth  for 
a  time,  and  of  the  villainy  of  a  false  steward  who  tries  to 
keep  the  heroine  out  of  her  inheritance.  Cast  :  7  males 
and  4  females.  Played  in  Large  Concert  Hall,  Rotunda, 
Dublin,  May  3rd,  1906. 

=*Tartridge  (Felix).  The  Great  Change.   A  Bi-lingual 
Play. 

A  clever  and  amusing  farce  about  a  cobbler  who  is  forced 
into  speaking  Irish  by  a  trick.  First  played  at  the  Rotunda, 
Dublin,  on  August  9th,  1906.    Ten  in  cast. 

•'  Walsh  (R.  G.).   Tom  Moore.   A  Drama. 

First  produced  in  Tipperary  on  November  19th,  1906. 

  Before  Clonmel.     Dramatic  Sketch  in  1  Act."  "' 

The  action  of  this  exciting  little  piece  occurs  during  Crom- 
well's siege  of  Clonmel  (1650),  and  is  carried  on  by  four 
of  General  O'Neill's  soldiers — then  defending  the  town. 
Though  war's  alarms  are  in  the  air,  a  pretty  love  story 
forms  its  main  theme.  The  drama  was  first  played  in 
Dublin,  at  the  Rotunda,  by  the  National  Players  on 
November  1st,  1907.    The  scene  is  an  interior. 


282  GUIDE  TO  BOOKS   ON  IRELAND. 

=ToRD  (Joseph).  The  Bailiff  of  Kihnore.   A  Romantic 
Drama  in  3  short  scenes. 

Tells  of  the  love  of^two  men — a  bailiff  and  a  young  farmer — 
for  Nuala  O'Connor,  a  farmer's  daughter,  and  of  how  the 
rejected  bailiff  is  foiled  in  the  end  by  the  young  man  whom 
Nuala  loves.  Cast  :  4  males  and  two  females.  Acted  at 
York  Street,  Dublin,  December  15th,  1906. 

'^•Plays  b}^  Rutherford  Mayne. 

 The  Turn  of  the  Road.    An  Ulster  Play  in  2 

Scenes  and  an  Epilogue.  Paper  cover,  is.  net. 
Buckram,  2s.  net.    Belfast.  (Maunsel.) 

The  scene  is  laid  in  County  Down,  and  the  characters  are 
of  the  farming  class.  One  son  takes  to  the  fiddle,  the  other 
to  the  farm.  The  artistic  soul  of  the  former  tries  to  soar 
above  its  surroundings  in  vain,  and  at  last  has  to  burst 
its  bounds  and  take  wing  out  into  the  world.  The  play  is 
full  of  homely  humour  and  pathos,  and  the  character- 
drawing  excellent.  First  played  by  the  Ulster  Literary 
Theatre,  in  Ulster  Minor  Hall,  Belfast,  on  December  17th, 
1906.    Cast  :  7  males  and  3  females. 

 The  Drone.  A  Comedy  in  2  Acts.  Is.  (Maunsel.) 

A  study  of  County  Down  life  in  a  farmer's  home.  A 
really  laughable  comedy,  teliing  of  the  subterfuges  of  a 
dronish  but  lovable  old  man  who  pretends  he  was  ever  and 
alwavs  working  at  a  great  invention.  First  played  at  the 
Abbey  on  April  24th,  1908,  by  the  Ulster  Literary  Society. 
When  it  was  revived,  the  playwright  had  added  a  third  act 
to  the  play,  and  so  it  is  published. 

i-'"^   ■  ; 

  The  Blackmouth.   A  Drama.  (1908). 

Never  yet  produced.  Some  years  ago  William  Mollison 
was  thinking  of  appearing  in  it,  but  his  company  dissolved 
before  his  doing  so.  Blachmoidh  is  the  name  by  which 
Presbyterians  are  known  up  North.  I  might  here  mention 
that  Mollison,  that  fine  Shakespearian  actor,  who  was  a 
native  of  Dundee,  died  at  his  native  place,  in  his  50th 
year,  on  December  19th,  1911. 

 The  Troth.    A  Play  of  Northern  Life  in  1  Act. 

Time,  About  1860.  Two  farmers  come  to  the  conclusion 
that  the  landlord  would  be  best  out  of  the  way,  and  toss 
for  who  should  do  the  deed.    The  wrong  man  is  arrested, 


IRISH  PLAYS. 


283 


but  the  other  keeps  silent,  because  the  accused  is  single 
and  he  a  married  man.  First  played  at  the  Crown,  Peck- 
ham,  London,  on  October  31st,  1908.  Cast  :  3  males  and 
1  female. 

-  The  Gomeril.  A  Farcical  Corned}^  in  1  Act. 

An  amusing  North  of  Ireland  sketch.  It  merely  tells  of  a 
"  gomeril  "  of  a  son  being  forestalled  by  his  father  in  pro- 
posing to  a  somewhat  elderly  spinster  v^'ith  money,  and 
the  son's  astonishment  at  being  outdone.  Cast  :  3  men 
and  1  woman.  First  acted  by  the  Theatre  of  Ireland  at 
Rotunda  on  April  29th,  1909. 

-  Captain  of  the  Hosts.   A  Modern  Play. 

The  dramatist  breaks  away  from  his  portrayal  of  County 
Down  life,  and  tells  of  a  literary  youth  who  has  taken  to 
drink  to  hearten  himself  in  the  face  of  the  sentence  of 
death  passed  on  him  by  the  doctor.  He  comes  under  the 
spell  of  a  young  girl  who  helps  her  father  at  mission  work 
of  some  kind,  and  gives  over  the  drink  and  helps  in  the 
good  work.  The  girl  tires  of  her  occupation,  and  longs  for 
freedom.  So  she  goes  away  and  the  youth  returns  to  his 
bad  habits,  and  death  has  a  grip  on  him  when  she  comes 
back  to  urge  him  to  resist  the  temptation  for  her  sake. 
The  tragic  figure  of  the  doomed  youth  stands  out  splen- 
didly; but  the  play  is  scarcely  as  successful  as  his  country 
comedy  work.  The  atmosphere  is  too  depressing.  First 
played  by  the  Ulster  Theatre  Society  at  Grand  Opera 
House,  Belfast,  on  March  7th,  1910. 

-  Red  Turf.    A  Play  in  1  Act. 

Fir^t  produced  by  the  Ulster  Literary  Theatre  at  Grand 
Opera  House,  Belfast,  on  Tuesday,  December  5th,  1911, 
and  on  Thursday,  December  7th,  1911,  at  Abbey,  by  the 
pupils  of  the  Abbey  Theatre  Dramatic  Class,  with  Miss 
O'Neill  in  the  cast.  Cast  :  4  males  and  1  female.  Scene, 
A  cottage  kitchen  in  the  West  of  Ireland.  The  plot  con- 
cerns the  ownership  of  a  bank  of  turf,  and  tragedy  is  the 
upshot  of  the  settlement  arrived  at.  The  piece  is  a  crude 
essay  in  melodrama  plus  bad  language.  Ahis !  that  Mayne, 
whose  The  Drone  and  The  Turn  of  the  Road  are  plays  of 
sheer  delight,  should  have  substituted  a  "  string  of  curses 
instead  of  dialogue  "  to  suit  the  "  ari  "  tastes  of  the 
Abbeyites^ 


284 


GUIDE  TO  BOOKS  ON  IRELAND. 


The  Leprachaiin.  Play. 

Acted  at  York  Street,  Dublin,  December  15th,  1906. 

'••Wheeler  (Mi^s.).   The  Matchmakers.  A  Comedy  in  1 
Act. 

A  pleasing  little  scene,  conceived  in  lightly  humorous  way. 
First  played  at  Dublin  Castle  in  March,  1906. 

Blaney  (Charles  C).  Mr.  Blarney  from  Ireland.  Play 
in  4  Acts. 

Produced  at  American  Theatre,  New  York,  January  1st, 
1906. 

*Langbridge  (Rosamund).     The  Spell.     A  Peasant 
Play  in  2  Scenes. 

A  strange,  weird  little  piece,  chock-full  of  superstition. 
Mr.  and  Mrs.  Martin  Harvey  and  Miss  Mary  Korke  ap- 
peared in  the  original  cast.  Cast  :  1  man  and  2  women. 
First  produced  at  Theatre  Eoyal,  Manchester,  on  Novem- 
ber 2nd,  1906.  This  play  was  afterwards  performed  under 
the  title  of  The  Tragedy  of  Truth.  Incidental  music  by 
Norman  O'Neill. 

Tarpey  (William  Kingsley).      Sigrid.    A  Play  in  1 
Act. 

An  Irish  tragedy  founded  on  a  story,  "  The  Merrow,"  by 
Mrs.  Tarpey.  It  was  written  for  the  Irish  National 
Theatre,  and  was  intended  for  production  at  the  Abbey 
Theatre,  when  three  years  passed  without  production, 
Mr.  Tarpey  withdrew  the  piece  from  the  Abbey  manage- 
ment. It  remains  unpublished.  The  author  was  born  in 
Dublin  on  December  18th,  1857,  and  died  on  August  20th, 
1911,  in  Scotland.  He  wrote  several  dramatic  works. 
His  comedy,  The  Amateur  Socialist,  was  very  successful. 

^^^McAlister  (Alester),    Anthony  P.  Wharton."  Nelly 
Delane  (?).     A  Play  in  1  Act.  (1907). 

The  fate  of  this  play  is  interesting.  It  was  refused  at  the 
Abbey  and  then  sent  on  to  Lena  Ashwell,  and  accepted  by 
her,  and  the  MS.  lost — the  author  having  kept  no  copy. 
The  actress  then  commissioned  him  to  write  a  longer  play — 


IRISH  PLAYS. 


285 


Irene  Wycherly  was  the  result.  This  piece  was  the  success 
of  the  London  Season,  1907,  in  which  it  was  produced. 
Since  then  the  author  has  only  written  a  short  dream  play, 
entitled,  A  Klocturne.  His  first  piece — a  little  one-act 
comedy — The  Desperate  Lover — was  produced  for  the  first 
time  on  any  stage  at  the  Gaiety,  Dublin,  May  12th,  1905. 
The  author  was  given  as  "  Henry  Alexander."  The 
Compton  Comedy  Company  produced  it.  Plot  of  lost  M.S. 
A  girl  comes  up  to  Dublin  to  become  a  typist,  and  is  lead 
astray.  She  returns  home,  and  a  priest  who  gets  to  know 
of  her  trouble,  tries  to  keep  her  at  home,  and  she  consents 
to  stay.  Cast :  2  males  and  2  females.  It  is  announced 
that  this  dramatist  has  written  a  comedy,  entitled.  At  the 
Barn,  for  Marie  Tempest. 


FiTZMAURiCE  (George).  The  Country  Dressmaker.  A 
Comedy  in  3  Acts,  with  West  Kerry  as  the  scene 
of  action. 

A  clever  play,  with  some  effective  character-sketching  in 
it.  The  story  it  tells  is  of  a  dressmaker,  who  believes  in 
the  lover  of  her  youth  being  true  to  her,  though  gone  to 
foreign  parts,  and  remains  single  for  his  sake.  Ultimately 
she  is  awakened  from  her  dream,  but  on  his  return  the  old 
love  for  her  burns  anew,  and  all  comes  right  in  the  end. 
Cast  :  7  males  and  5  females.  First  played  at  the  Abbey 
on  October  3rd,  1907. 


—  The  Piedish.    A  Play  in  1  Act. 

This  is  another  play  where  the  artistic  spirit  is  misplaced, 
and  the  poor  old  man  who  possesses  it  amid  humble  sur- 
roundings dies  before  what  he  has  lived  for  is  accomplished. 
The  piedish  on  which  his  artistic  soul  expanded  falls  from 
his  hands  and  is  shattered  as  he  expires.  First  performed 
at  the  Abbey  in  March,  1908.  Cast  :  4  males  and  2  females. 


=^=Letts  (Miss  W.  M.).   The  Eyes  of  the  Blind.  A  Play 
in  1  Act. 

A  powerful,  "  creepy  "  little  sketch,  in  which  a  blind  man, 
through  "  second  sight,"  tells  of  a  murder  in  such  a  way 
that  the  unsuspected  murderer,  who  is  present,  owns  up 
to  his  having  committed  the  crime.  Cast  :  2  males  and  1 
female.    First  played  at  the  Abbey  on  April  1st,  1907. 


286 


GUIDE  TO  BOOKS   ON  IRELAND. 


 The  Challenge.   A  Play  in  1  Act. 

.The  dramatist  gives  us  a  glimpse  into  Old  Dublin  in  this 
pla}^,  and  places  the  scene  in  a  room  on  the  north  side  of 
the  city,  about  the  year  1890.  Two  old  cronies  meet,  and 
in  chatting  of  old  times  they  recall  the  love  of  each  for  a 
certain  young  lady,  and  the  recollection  loads  to  a  chal- 
lenge. The  old  fogies  face  one  another  with  pistols  in  their 
hands,  and  one  drops  dead  from  heart  failure  ere  a  shot  is 
fired.  The  piece  was  first  played  at  the  Abbey  on  October 
14tli,  1909,  and  contains  three  parts. 


  The  Socialists.     Comedy  in  4  Acts. 

Not  yet  played. 

•'^Maugitan  (William  Somerset).     Lady  Frederick.  A 
Comedy  in  3  Acts. 

The  title  part  is  that  of  a  lady  of  Irish  origin  of  adventuress 
type,  with  the  germ  of  her  better  nature  still  clinging  to 
her.  A  youth  becomes  enamoured  of  her,  and  she  nobly 
cures  him  of  his  mad  infatuation  by  letting  him  into  the 
secrets  of  her  "  make-up."  Ethel  Irving  made  a  big  hit  as 
"  Lady  Frederick."  Originally  played  at  Court,  London, 
on  October  2Gth,  1907.  Cast :  8  luales  and  5  females. 
Mr.  Maughan  was  born  1874. 

O'TooLE  (Lorcan).    The  Exile.    A  Bi-lingual  Play  in 
2  Scenes.  6d.   (Democrat  Office,  Monaghan,  1907). 

The  play  claims  to  be  a  faithful  portrayal  of  the  craze  for 
emigration  that  has  taken  such  a  hold  on  the  minds  of  the 
youth  of  Ireland,  their  idea  being  that  tliey  need  only  leave 
Ireland  to  realise  a  rapid  fortune.  Cast  :  4  males,  3 
females,  and  a  group  of  villagers. 


■^T^^lays  by  Seumas  O'Kelly. 

  The  Matchmakers.   A  Farce  in  1  Act. 

Tells  in  merry  fashion  how  the  neighbours  bring  an  ill- 
assorted  pair  together,  and  succeed  in  making  a  match  of 
it  for  them.  First  played  by  the  Theatre  of  Ireland  at  the 
Abbey  on  December  13th,  1907.    Cottage  interior. 


IRISH  PLAYS. 


287 


 The  Flame  on  the  Hearth.    A  Play  in  1  Act. 

Michael  Dwyer,  when  "  on  his  keeping,"  comes  to  a  cot- 
tage  at  night,  and  begs  shelter  of  the  woman  of  the  house. 
She  gives  it  to  him,  but  when  her  husband,  who  is  a  yeoman, 
returns,  he  recognises  in  the  sleeping  man  the  rebel  he 
and  his  men  were  seeking.  The  wife  begs  that  he  will  let 
Dwyer  stay  where  he  is,  and  threatens  to  leave  him  alto- 
gether if  he  refuse  her  request.  He  grants  it  her,  and 
when  some  yeomen  call,  he  has  no  information  to  give 
them.  Cast :  2  males,  1  female,  and  some  soldiers.  Firs£ 
played  by  the  Theatre  of  Ireland  at  Abbey '  Theatre  on 
November  23rd,  1908. 

~ —  The  Shuiler's  Child.     A  Play  in  2  Acts.  Is. 
(Maunsel.) 

The  problem  this  play  has  to  expound  is  of  a  tramp,  Moll 
Woods,  who  deserts  her  child,  and  of  a  childless  husband 
and  wife  who  adopt  it,  and  grow  to  love  it  as  their  own. 
When  the  mother  sees  her  child  again  she  longs  to  have  it 
back  with  her.  This  the  law  will  not  allow.  Ultimately 
the  poor  wretch  agrees  to  leave  it  with  the  kindly  pair, 
and  she  is  arrested  for  deserting  it  in  the  long  ago.  A 
powerful  and  clever  drama,  and  by  far  the  most  ambitious 
play  this  playwright  has  as  yet  attempted.  Mary  Walker's 
acting  was  notably  clever  and  touching  as  "  Moll  Woods." 
First  played  by  the  Theatre  of  Ireland  at  the  Rotunda, 
Dublin,  on  April  29th,  1909. 

 The  Homecoming.    An  Incident  in  1  Act. 

Depicts  the  homecoming  of  reinstated  tenants,  and  the 
death  of  the  aged  mother  in  the  joy  of  her  return  to  the  old 
home.  A  pathetic  little  episode  skillfully  handled.  First 
played  by  the  Theatre  of  Ireland  at  Moles  worth  Hall,  on 
March  28th,  1910.    Cast  :  2  males  and  1  female. 

•^^McManus  (Miss  L.).    O'Donnell's  Cross.  A  Play  in  3 
Acts. 

First  produced  by  National  Players  at  Rotunda  on  October 
31st,  1907.    Cast  :  11  males  and  2  females. 

 The  Sun  God.   1-Act  Play. 

Scene,  The  Camp  of  the  Celts  before  Delphi,  280  B.C. 
Cast  ;  6  males  and  3  females.  Published  in  Irish  Weekly 
hide  pendent,  December  13th,  1902, 


288 


GUIDE  TO  BOOKS   ON  IRELAND. 


^'^O'Laughlin  (Gerald).     The  Rapparee.    A  Play  in  1 
Act. 

Scene,  a  country  inn,  after  King  James's  defeat  at 
Limerick.  One  of  the  Williamite  officers  insults  the  inn- 
keeper's daughter,  who  is  engaged  to  one  of  the  Jacobite 
soldiers.  He  is  on  the  spot,  and  demands  satisfaction  of 
the  officer.  The  girl  comes  between  them  as  they  fight, 
and  is  killed.  A  rapparee,  whom  the  officer  has  wronged, 
comes  on  the  scene,  crosses  swords  with  him,  and  slab's 
him.  The  play  is  written  in  popular  style.  Cast  :  6  men 
and  1  woman.  First  produced  at  the  Queen's,  Dublin,  on 
March  18th,  1907. 

Ransley  (H.  Gerald).   The  Rising  o'  the  Moon.  Four- 
Act  Melodrama. 

Produced,  College  Hall,  Liverpool,  April  18th,  1907.  Cast : 
9  males  and  3  females. 


=^=Casey  (W.  F.).    The  Man  Who  Missed  the  Tide.  A 
Play  in  3  Acts. 

This  is  a  very  sad  play,  full  of  tragic  touches,  and  tells 
with  unerring  pathos  of  the  downward  journey  of  a 
"  spoiled  priest."  It  is  a  great  favourite  with  the  public, 
chiefly  owing  to  the  wonderfully  realistic  and  pathetic 
"  playing  "  of  the  principal  role  by  Fred  O 'Donovan.  It 
was  first  played  at  the  Abbey  on  February  13th,  1908,  with 
great  success,  but  the  playwright  has  since  revised  and 
partly  re-written  it.  The  character-drawing  is  excellent. 
Cast  :  4  female  and  3  male  parts. 

■ — —  The  Suburban  Grove.     A  Mild  Scene  in  3  Acts. 

In  this  play  the  monotonous  lives  of  the  average  suburban 
middle-class  people  are  agreeably  hit  off.  Its  slender  story 
is  of  the  wooing  of  two  men  and  a  maid  the  one  ambi- 
tious, and  the  other  of  the  conceited  Johnny-type,  and 
the  maid  a  sweet,  lovable  girl  of  everyday  pattern.  The 
delightful  comedy  playing  of  the  young  fop,  "Claude 
Callan,"  by  Arthur  Sinclair,  made  the  piece  hit  the  public 
taste  at  once.  First  played  at  Abbey  on  October  1st,  1908. 
Cast  :  2  female  and  4  male  characters.    Scene,  an  interior. 


IRISH  PLAYS. 


289 


'FiTZPATRiCK  (Nora)  and  '^'Markievicz  (Casimir 
Dunin).  Home.  Sweet  Home.  A  Belfast  Farce 
in  1  Act. 

It  depicts  the  home-coming  of  a  daughter  with  her  young 
man — a  sort  of  silly-ass  swell — to  her  father's,  and  the 
adventures  of  the  affected  fellow  amongst  the  plain,  hard- 
headed  lot  of  uncouth  Northerns.  The  cast  consists  of  4 
male  and  4  female  characters.  It  was  first  performed  by 
the  Independent  Dramatic  Company  at  the  Abbey  on 
December  3rd,  1908. 

^Campbell  (Rev.  John),  The  Battle  of  Castleknock.  A 
Pageant. 

Period,  second  century.  Enacted  on  the  very  site  of  the 
battle  in  the  summer  of  1908,  by  the  students  of  St.  Vin- 
cent's College,  Castleknock.  Produced  by  Fred  Morrow, 
w^ho  has  made  a  speciality  of  Irish  pageants. 

  St.  Patrick  at  Castleknock.    An  Irish  Historical 

Pageant  Play  in  2  Acts  and  7  Scenes.  (Browne 
and  Nolan). 

Period,  the  middle  of  the  fifth  century.  It  graphically 
relates  tha  disputes  of  the  Kings  of  IMeatli  and  Leinster 
over  the  Brou  Tribute,  and  the  coming  of  St.  Patrick  and 
conversion  of  the  King  of  I^einster,  liis  family  and  fol- 
lowers. First  pla^^ed  at  St.  Vincent's  College,  Castleknock, 
on  ]\Iay  24th,  1910,  under  the  shadow  of  the  old  castle 
that  stands  on  the  hill-top  amid  stately  trees,  with  the 
bird's  merry  note  whistling  through  the  spoken  words  of 
the  players.    A  splendid  pageant  for  schoolboys. 

"  Harding  "  (Robert).  Leaders  of  the  People.  A  Play 
in  2  Scenes. 

The  action  is  laid  in  the  Committee  Rooms  of  a  Parlia- 
mentary candidate,  and  the  scene  is  one  of  excitement 
and  the  airing  of  political  view^s  of  many  shades  of  opinion. 
First  played  by  the  Ulster  Literary  Theatre  at  the  Abbey 
on  April  24th,  1908.  Cast  :  6  males  and  1  female.  J.  W. 
Good,  dramatic  critic  in  the  Northern  Whig^  is  the  author's 
real  name. 

Esmond  (H.  V.).  The  O'Grindles.    A  Play  in  3  Acts. 

The  plot  is  laid  in  tlic  early  part  of  the  nineteenth  century, 
and  the  rollicking  Ireland  of  Lever  and  Lover  is  called 


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into  being  by  the  dramatist  with  fair  theatrical  effective- 
ness. Two  brothers — one  good  and  one  bad — figure  pro- 
minently in  the  play;  and  the  good,  for  a  time,  is  awarded 
the  other's  faults,  so  that  his  course  of  true  love  does  not 
run  smooth  until  his  character  is  cleared,  and  all  made 
right  in  the  end.  The  piece  was  produced  at  the  Play- 
house, London,  by  Cyril  Maude  and  his  company  early 
in  1908,  where  it  ran  for  some  time.  Cast  :  14  males  and  4 
females.  Mr.  Esmond  was  born  at  Hampton  Court, 
November  30th,  1869. 

HiLLiER  (Mirabel).   Peggy  Do3^1e.  Play  in  3  Acts. 
Rehearsal  Theatre,  June  27th,  1908. 

■^•Plaj^s  by  Johanna  Redmond. 

  Leap  Year  in  the  West.   A  Dialogue  in  1  Act. 

A  dainty  little  Irish  love  story,  sweetly  told.  First  produc- 
tion in  Court  Theatre,  London,  by  the  Irish  Stage  Society 
on  July  2nd,  1908.  Miss  Redmond  is  a  daughter  of  John 
Redmond,  M.P.,  the  Leader  of  the  Irish  Party. 

  Falsely  True.    An  Irish  Play  in  1  Act. 

An  incident  after  the  Robert  Emmet  Rising  in  1803.  There 
are  three  characters — mother,  father,  and  son.  The  scene 
is  laid  in  a  cottage  at  Wicklow.  A  peasant  and  his  wife 
are  awaiting  some  news  of  their  J:wo  boys,  who  had  been 
arrested  for  taking  part  in  the  rising.  The  eldest  boy  re- 
turns with  news  that  his  brother  has  died  of  his  wounds 
in  prison,  and  soon  it  is  told  how  he  had  turned  informer 
to  save  his  brother,  only  to  find  out  he  was  dead  all  the 
while.  The  scene  between  the  parents  and  their  son  on 
learning  this  makes  up  the  sad  episode  round  which  the 
sketch  is  dramatically  built.  First  played  at  the  Palace 
Theatre,  London,  on  March  6tli,  1911. 

 Honor's  Choice.    A  1-Act  Coiuedy  Sketch. 

Queen's,  Dublin,  July  3rd,  1911.  Scene,  cottage  interior. 
A  pleasing  little  love  episode,  in  which  Honor  chooses  be- 
tween a  poet  and  a  workman.  Cast  :  2  males  and  2 
females. 

  Pro  Patria.   A  Drama  in  1  Act. 

First  performance,  Queen's,  Dublin,  September  4th,  1911 
(afternoon),  by  members  of  the  Irish  Theatre  and  National 


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Stage  Company.  The  scene  is  laid  in  a  cottage  interior  on 
the  Wicklow  hills  during  the  winter  of  1798,  and  the  plot 
is  a  stirring  one,  in  which  Michael  Dwyer  and  a  party  of 
rebels  are  attacked,  and  Dwyer  being  wounded,  a  youth 
who  is  in  love  with  the  girl  of  the  house  takes  his  place 
and  is  captured,  and  taken  forth  to  meet  his  death — leav- 
ing the  girl  of  his  heart  lamenting  his  loss.  Cast  :  5  males 
and  2  females,  and  "  supers." 

—  The  Best  of  a  Bad  Bargain.  A  New  Play  in  1 
Act  (two  short  scenes),  founded  on  an  episode  of 
Irish  country  life. 

Scene,  the  interior  of  a  farm-house.  Time,  the  present. 
A  widow  finds  she  has  two  strings  to  her  bow — an  oldish 
farmer  with  some  money,  and  a  >oung  blacksmith  with 
none.  At  first  she  is  undecided  which  she  will  have. 
Finally  she  "  pairs  off  "  with  the  old  fellow,  making  the 
best  of  a  bad  bargain.  First  played  at  Gaiety  Theatre, 
Dublin,  on  July  26th,  1911.    Cast :  2  males  and  1  female. 

—  The  Rehearsal.     A  Play  in  1  Act. 

The  scene  is  laid  in  a  New  York  breakfast  room.  Cast  : 
2  males  and  2  females.  The  plot  runs  thus  : — Nora  Lane, 
recently  married,  is  discovered  by  her  husband  making  an 
appointment  with  the  lover  of  a  friend  of  hers,  and  the 
husband  naturally  intervenes  only  to  discover  that  they 
have  been  rehearsing  in  theatricals.  The  characters  are 
Irish  in  name.  First  played  at  Queen's  Gate  Hall,  London, 
December  2,  1911. 

ONNELL  (Norreys).  The  Piper.  An  Unfinished 
Argument  in  1  Act. 

Scene,  the  Rebellion  of  '98.  Though  set  far  back  into  other 
years,  the  piece  has  a  present-day  significance  underlying 
it.  "  Talk  " — the  curse  of  this  country — is  its  keynote. 
That  the  Irish  are  insanely  brave,  impracticable  and" hope- 
lessly talkative,  is  the  lesson  the  dramatist  wishes  to  drive 
home.  First  played  at  the  Abbey  on  February  13th,  1908. 
Conal  O'Eiordan  is  the  author's  real  name. 

—  An  Imaginary  Conversation.    A  Play  in  1  Act. 

This  is  a  little  piece  in  which  Robert  Emmet  and  Tom 
Moore  talk  freely  over  eventful  matters  yet  to  ripen.  Cast  : 
2  males  and  1  female.  First  played  at  the  Abbey  on  May 
2nd,  1909.  ^    *^  J  J 


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Murphy's  Affinity.  Sketch. 

Produced  at  the  Surrey,  March  2nd,  1908. 

The  Parting  of  the  Wa3^s.  Drama,  written  and  pro- 
duced by  the  Davis  Branch  Ga-elic  League,  May  1, 
1908. 

Horns  Assembly  Booms,  Kennington. 

Pat  and  the  Genii.  Sketch. 

Alhambra,  London,  August  3rd,  1908. 

•=P^lays  by  S.  L.  Robinson. 

 The  Clancy  Name.    A  Play  in  1  Act. 

Mrs.  Ckuicy,  who  is  proud  of  the  name,  learns  from  her 
only  son  that  he  has  committed  a  murder,  and  intends 
giving  himself  up  to  the  police.  She  entreats  him  not  to 
do  so,  as  it  would  blacken  the  Clancy'  name  for  ever;  but 
he  heeds  her  not,  and  goes  out  of  the  house.  Hot  foot 
after,  in  trying  to  save  a  child  from  being  run  over  by  a 
runaway  horse,  he  is  knocked  down  and  killed,  and  so  the 
Clancy  name  is  saved — her  boy  has  died  a  hero !  A  power- 
ful little  pla}',  and  the  first  written  by  its  author.  First 
played  at  the  Abbey  on  October  8th,  1908.  Cast  :  3  males, 
2  females,  and  a  group  of  peasants. 

 The  Cross  Roads.    A  Play  in  Prologue  and  2 

Acts.    Is.  (Maunsel.) 

Tells  of  how  a  West  Cork  country  girl  at  the  cross-roads 
of  life  jilts  the  man  she  loves  for  one  in  a  better  worldly 
position,  and  how  she  is  made  to  rue  the  day  in  after  years. 
Many  are  of  opinion  that  this  is  the  most  dramatically 
powerful  of  all  the  Abbey  plays.  Certainly  few  stronger 
scenes  are  to  be  found  in  drama  than  that  between  husband 
and  wife  and  rejected  lover  in  Act  2.  As  acted  now,  the 
prologue  is  omitted.  The  scene  is  laid  in  West  Cork. 
There  arc  five  characters  in  the  play — 3  male  and  2  female. 
First  played  at  the  Abbey  on  April  1st,  1909. 

  The  Lesson  of  Life.    A  Comedy  in  1  Act. 

It  deals  with  a  rural  youth  of  wild  ways,  and  of  his  refor- 
mation b}'  ingenious  means.  A  cleverly-written  little  play. 
Cast  :  4  males  and  1  female.  First  played  at  the  Dun, 
Cork,  on  December  2nd,  1909. 


IRISH  PLAYS. 


293 


  Harvest.    A  Play  in  3  Acts. 

A  powerful,  unpleasant,  depressing  play,  telling  of  the  ill- 
effects  of  over-education  on  a  peasant-farmer's  family,  and 
the  rich  harvest  of  failures  it  produces.  The  piece  is  full 
of  clever  characterisation  and  grips  an  audience.  The  scene 
is  laid  at  Knockmal gloss,  Co.  Cork,  at  the  present  day. 
There  are  eight  in  the  cast — 4  male  and  4  female  parts. 
First  played  at  the  Abbey  on  May  19th,  1910. 

MacDonagii  (Thomas).   When  the  Dawn  is  Come.  A 
Tragedy  in  3  Acts. 

A  sort  of  peep  into  the  future,  with  the  scene  laid  twenty 
years  hence.  Ireland  is  being  set  free  from  the  yoke  of 
the  stranger,  and  we  are  in  the  Irish  camp  all  the  while. 
The  plot  concerns  the  supposed  treachery  of  an  Irish  officer, 
which  cannot  be  maintained  by  his  accusers.  It  is  next  to 
impossible  to  make  a  play  of  this  kind  come  convincingly 
across  the  footlights.  First  plaved  at  the  Abbev  on 
October  15th,  1908. 

Sweet  Innisfail.  Sketch. 

Richmond  Kippodrome,  October  26th,  1908. 

Beringer  (Mrs.  Oscar),  nee  Amy  Daniell.  Katherine 
Kavanagh.  Play. 

Mrs.  Beringer  was  born  in  Philadelphia,  1856. 

Graves  (Arnold).    Stella  and  Vanessa.    A  Drama  in 
4  Acts. 

A  plav,  with  Dean  Swift  as  hero.  First  plaved  at  the 
Irish  Theatrical  Club,  Dublin,  on  December  10th,  1908. 

Tynan  (Katharine).    The  Stepmother.  Playlet. 

Cast  :  1  male  and  2  females.  Scene  :  The  best  parlour  in 
Bridget  McCann's  farmhouse.  A  love  story,  in  which  a 
stepmother  makes  up  a  match  between  her  stepdaughter 
and  a  likely  young  fellow — the  stepdaughter  thinking  she 
wanted  him  for  herself  at  first.  This  piece  appeared  in 
the  St.  Patrick's  Day  Number  of  the  Weekly  Freeman, 
1909.  (March  20th).  This  authoress  was  born  in  Dublin, 
February  3rd,  1861. 


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The  Boy-Deeds  of  Cuchulain.    A  Pageant  in  3  Acts. 

Performed  by  tlis  pupils  of  St.  Enda's  School,  in  the 
school  grounds,  on  June  22nd,  1909.  Act  1 — Cuchulain 
takes  the  Boy-Corps  under  his  protection.  Act  2 — He  slays 
Culaun's  hound.  Act  3 — He  takes  arms.  A  splendid 
pageant  for  boys. 

'''Forbes  (James).     The  Chorus  Lady.    Comedy  in  4 
Acts. 

First  time  in  England  at  Vaudeville,  London,  April  19th, 
1909.  Rose  Stahl  made  a  great  hit  as  "  Patricia 
O'Brien,"  a  chorus  lady,  who  sacrifices  herself  to  save 
her  sister's  name  from  disgrace.  Cast  :  8  males  and  11 
females. 

'^'Corker Y  (Daniel).    The  Embers.   A  Play  in  3  Acts. 

"  The  Embers  "  are  the  embers  of  patriotic  Fenianism  and 
rebellion  which  have  smouldered  for  twenty  years  in  the 
village  of  Cooladuo.  They  glow  into  flame  at  the  home- 
coming of  a  Fenian,  who  has  been  for  years  in  prison. 
The}'  strike  fire  in  the  heart  of  Lawrence  Kiely,  the  son 
of  a  prominent  man  of  the  town.  The  youth  gives  vent 
to  his  opinions,  and  is  disowned  by  his  father.  He.  tries 
in  vain  to  plant  his  views  in  the  breasts  of  others,  and 
ultimately  dies  a  lonely  man  in  a  lonely  room,  with  all 
his  feverish  enthusiasm  blighted  by  the  scorn  of  others. 
A  strong  but  saddening  play.  First  performed  by  the 
Cork  Dramatic  Society  on  May  6th,  1909,  at  the  Dun,  Cork. 

 The  Hermit  and  the  King.   A  Play  in  1  Act. 

This  little  piece  is  symbolical  in  treatment,  and  is  con- 
cerned with  two  brothers — one  representing  the  material, 
and  the  other  the  spiritual  side  of  life.  The  play  ends  as 
a  note  of  triumph  for  the  spiritual.  Cast  :  5  males  and  a 
boy.  First  plaved  at  the  Dun,  Cork,  on  December  2nd, 
1909. 

  The  Onus  of  Ownership.      A  Piece  of  Robust 

Comedy,  dealing  with  the  troubles  of  a  man  of 
property. 

Originally  played  at  Cork  in  Easter  week,  April  19th,  1911. 
Cast  :  4  males  and  3  females. 


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295 


  Tlio  Epilogue.    An  Extravaganza. 

Scene  :  The  Room  in  a  Stranded  Dramatic  Society,  not  in 
Cork.  The  cast  comprises  of  actors  and  poets,  the  secre- 
tary of  the  society  and  an  old  man — 8  males  and  2  females. 
First  produced  by  the  Cork  Dramatic  Society  at  the  Dun 
Theatre,  Queen  Street,  Cork,  Thursday,  May  18,  1910. 
This  society  is  now  in  existence  for  a  little  over  two  years, 
<ind  has  produced  12  new  plays  by  6  authors. 

The  Return  of  Liigh.   An  Historical  Pageant,  founded 
on  Alice  ]\rilligan's  Poem  on  the  same  subject. 

First  played  at  Marino,  Clontarf,  on  August  25th,  1909, 
at  the  close  of  day,  with  limelight  effects,  amongst  the 
mysterious  shadows  of  the  trees.    A  beautiful  spectacle. 

••'■•Murray  (T.  C).   The  Wheel  o' Fortune.   A  Plav  in  1 
Act. 

The  play  is  concerned  with  match-making  in  a  rural  dis- 
trictr  Cast  :  6  males  and  2  females.  First  produced  by 
the  Cork  Dramatic  Society  at  the  Dun,  Cork,  December 
2nd,  1909. 

 Birthright.     A  Piay  in  2  Acts. 

A  very  powerful,  realistic  little  play  of  peasant  life  in 
West  Cork  in  the  present  day.  The  four  principal  parts 
of  father,  mother,  and  two  sons  are  admirably  drawn.  The 
eldest  boy  is  a  bit  of  a  dreamer,  and  the  youngest  a  true 
son  of  toil.  The  mother  is  all  for  the  eldest  boy,  and  the 
father  for  the  younger  lad.  The  father  ultimately  dis- 
inherits the  first-born,  with  tragic  result  to  the  family. 
The  play  was  first  produced  in  the  Abbey  Theatre  on 
October  27th,  1910.  Cast  :  5  male  and  1  female  character. 
Scene,  cottage  interior.  In  the  revised  version  of  the  play 
the  character  of  the  "  Schoolmaster  "  was  omitted.  The 
Abbey  Company  opened  their  first  American  tour  with  this 
piece  at  the  New  Plvmouth  Theatre,  Boston,  Monday, 
September  6th,  1911.  ^"  In  the  Shadow  of  the  Glen  "  and 
"  Hyacinth  Halvey  "  were  also  on  the  opening  bill. 

  The  Levite.     A  Play  in  2  Acts. 

It  is  a  delicately  and  pathetically  told  story  of  a  youth 
who  found  he  had  no  vocation  for  the  priesthood,  and  the 
effects  his  failure  has  on  his  people.  Accepted  by  the 
Abbey.  Mr.  Murray  is  a  National  school  teacher  at 
Blarney,  Co.  Cork, 


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Eithne.  An  Irish  Legendary  Grand  Opera  in  3  Acts. 
Music  by  Robert  O'Dwyer.  Libretto,  in  Gaelic  and 
English  translation,  by  Rev.  Thomas  O'Kelly. 

The  plot  tells  how  Ceart,  the  eldest  son  of  the  High  King 
of  Erin,  wins  the  love  of  Eithne,  the  daughter  of  the  King 
of  Tir-na-n-Og,  and  frees  the  Queen,  Nuala,  his  foster- 
mother,  from  a  spell  that  banished  her  from  the  Fairy 
Kingdom.  First  sung  in  Gaelic  at  Rotunda  on  August 
2nd,  1909. 

'='DoYLE  (Arthur  Conan).  Fires  of  Fate.  Modern 
Morality  Play  in  4  Acts. 

An  exciting  play,  telling  of  an  excursion  party  captured 
by  Dervishes,  and  their  fate.  Two  members  of  the  party  are 
Mr.  and  Mrs.  Thomas  Belmont  from  Dublin.  First  produced 
at  the  Lyric,  London,  on  June  15th,  1909.  Shiel  Barry, 
son  of  the  famous  Irish  actor  of  that  name,  made  a  big 
success  as  "  Abdullah,"  a  dragoman,  who  betrays  the 
party.    Cast  :  13  males  and  3  females. 

=-'Croker  (Mrs.  B.  M.).  Terence.  A  Romantic  Irish 
Comedy  in  4  Acts. 

The  play  is  an  adaptation  of  Mrs.  Croker's  from  her  novel  of 
the  same  name.  The  title  role  is  that  of  an  Irish  gentleman 
so  1  educed  in  fortune  as  to  become  driver  of  the  stage 
coach.  He  falls  in  love  with  a  lady,  and  asserts  his  right 
to  marry  her.  The  story  is  interestingly  told  by  the  drama- 
tist. First  pla^v-ed  at  Gaiety,  Dublin,  on  March  1st,  1909. 
Cast  :  7  males  and  7  females. 

•^Bennett  (Arnold).  What  the  Public  Wants.  A  Play 
in  4  Acts. 

Produced  at  Aldwych,  London,  May  3rd,  1909.  W. 
G.  Fay,  the  founder  of  the  Irish  dramatic  movement, 
played  the  role  of  "  Holt  St.  John  " — an  Irish  theatrical 
manager — in  the  original  cast.  Cast  :  10  males  and  6 
females. 

•■•pRwiN  (Father^     The  Irish  Attorney.  Play. 

Produced  at  St.  Mary's  Hall,  E.  London.  (Produced  by 
amateurs.)    June  1st,  1909. 


IRISH  PLAYS. 


297 


MoRAN  (James).    The  Fenian's  Death,   A  Play  in  3 
Acts. 

First  played  at  Rathkeale  on  October  7th,  1909. 

"Ray"  (R.  p.).    The  White  Feather.    A  Play  in  3 
Acts. 

A  peasant  play,  conceived  in  the  direst  gloom,  ending  in  a 
scene  depicting  the  last  moments  of  a  condemned  man  in 
his  cell  before  he  goes  out  to  meet  his  terrible  fate. 
Played  at  the  Abbey,  for  the  first  time,  on  September  16th, 
1909.  "  Ray  "  is  the  pen  name  of  Mr.  Brophy,  of  the 
Cork  Constitution. 

  The  Casting  Out  of  Martin  Whelan.    A  Play  in 

3  Acts. 

The  action  of  the  play  takes  place  thirty  years  ago,  and 
in  it  the  author  has  tried  to  depict  the  attitude  of  the 
peasantry  of  the  time  towards  informers.  Martin  Whelan, 
an  Australian,  born  of  Irish  parents,  comes  to  Ireland,  and 
is  made  much  of  by  the  people  until  it  becomes  known 
that  his  mother's  father  was  an  informer  who  fled  the 
country  years  ago  by  the  aid  of  Government  money.  Then 
they  turn  against  him,  and  blot  him  out  of  their  lives. 
Some  of  the  peasant  types  are  well  observed,  but  the  two 
principal  characters  are  scarcely  convincing.  The  cast  is  a 
big  one — 7  males,  3  females,  and  a  number  of  peasants. 
First  played  at  the  Abbey  Theatre,  September  30th,  1910. 

Alfred  (E.  F.).     The  Lost  Heir.    A  Play. 

First  performance,  Theatre  Roval,  Waterford,  on  Novem- 
ber 24th,  1909. 

  Meagher  of  the  Sword.      An  Irish  Historical 

Play. 

Played  at  Theatre  Royal,  Waterford,  in  November,  1909. 

  Tlie  Croppy  Boy.      An  Irish  Historical  Drama 

in  4  Acts. 

The  scene  of  this  piece  is  laid  in  Wexfoi'd  county  during 
the  exciting  times  of  the  '98  rising.  The  drama  is  full  of 
stirring  incidents.  Cast  :  8  males  and  2  females.  First 
played  in  Theatre  Royal,  Waterford,  on  Thursday,  January 
5th,  1911,  by  the  "  Meagher  of  the  Sword  Company, 


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MacNamara     (Gerald).    The  Mist  that  Does  Be  on 
the  Bog.    A  Skit  in  1  Act. 

An  amusing  little  piece,  in  which  the  Abbey  plays  come  in 
for  some  mild  and  delightful  satire.  First  produced  at  the 
Abbey  by  the  Ulster  Literary  Theatre  on  November  26th, 
1909.  "  MacNamara  "  hides  the  identity  of  one  of  the 
Morrow  brothers — George,  I  think. 

Staunton  (M.  J.).    The  Patriot  Priest.  Drama. 

Plavcd  at  Father  IMathew  Hall,  Dublin,  on  March  29th, 
1909. 

HiCKEY  (Patrick).    Pious  Dublin. 
(Not  yet  acted). 

MacManus  (J.  B.).     Up  for  the  Green. 

(Not  yet  acted). 

Robinson  (Percy).     Rebel  and  Redcoat.  Pha3^ 
(Not  yet  acted). 

••'MoYLAN  (Thomas  King).    Paid  in  His  Own  Coin.  A 
Comedy  in  3  Acts. 

A  thoroughly  amusing  piece,  telling  of  a  trick  a  young 
country  girl  played,  who  had  two  strings  to  her  bow,  to 
clear  the  one  of  her  choice,  who  was  poor,  from  debt  on  his 
farm  at  the  expense  of  the  other,  who  was  mean  and 
grasping.  The  way  the  latter  was  "  paid  in  his  own  coin  " 
by  the  artful  girl  is  most  amusingly  set  forth  in  the  comedy. 
The  "  Breach  of  Promise  "  case  in  the  last  act  is  a  delight, 
ful  burlesque  on  the  real  article.  Cast  :  6  males,  3  females, 
and  a  group  of  jurymen,  etc.  First  played  at  the  Metro- 
politan School  of  Art,  Dublin,  by  the  students  on  March 
18th,  1909. 

  Naboclish.     A  Practical  Joke  in  2  Acts. 


An  English  tourist  finds  himself  in  the  County  Clare  in 
the  cabin  of  a  peasant-farmer.  He  possesses  all  the  absurd 
notions  and  ideas  of  the  Irish  that  his  countrymen  usually 
entertain,  and  thinks  the  country  honeycombed  with  secret 


IRISH  PLAYS. 


299 


societies,  and  says  so.  This  gives  a  cue  to  his  host  to 
have  a  great  big  laugh  at  his  visitor's  expense,  and  he  gets 
some  of  the  neighbours  to  pretend  to  hold  a  meeting  of  a 
secret  society,  at  which  the  Englishman  is  present.  They 
fairly  startle  him  out  of  his  wits,  and  send  him  flying  over 
the  country  with  the  fear  of  death  at  his  heels.  The 
Naboclish  is  the  name  given  to  the  bogus  society.  This 
piece  is  immensely  funny,  and  the  character  of  George 
Herbert  Chantilly  Smith  "  worthy  to  stand  beside  Shaw's 
'•  Broadbent."  First  played  at  the  Abbey  on  May  31st, 
1910,  by  the  Students'  Union  of  the  Metropolitan  School 
of  Art.    Cast  :  6  men  and  1  woman. 

 Uncle  Pat. 

First  played  by  students  of  the  Dublin  School  of  Art,  July 
28th,  1910.    One-act  play.    Cast:  3  females -and  4  males. 

  The  Sponge. 

(Not  yet  acted). 

^^^Barden  fHugh).    The  Storm.    A  PLay  in  1  Act. 

This  is  a  sad  and  tragic  little  tale  of  the  sea.  The  sudden 
cowardice  of  a  son  of  an  old  lifeboat  man  (through  a 
dream  he  had  had)  to  take  his  place  in  the  lifeboat  when 
a  "  call  "  is  made,  prompts  the  old  man  to  go  in  his  stead. 
He  gets  a  knock  on  the  head  in  launching  the  boat,  and  is 
taken  home  to  die  as  his  son  goes  olf  to  "  man  "  the  boat 
with  the  others.  The  father  in  dying  sees  a  vision  of  his  son 
drowning,  as  the  son  himself  had  seen  in  the  dream  that 
had  frightened  him.  Characters  :  8  males,  2  females,  and 
a  group  of  neighbours  and  sailors.  First  played  at  the 
Metropolitan  School  of  Art,  Dublin,  by  the  Students' 
Union,  on  March  18th,  1909. 

"^'Kelleiier  (D.  L.).    Stephen  Gray.    A  Dream  and  an 
Incident  in  1  Act. 

A  strange  little  play,  in  Vvhich  a  dream  merges  into  reality 
in  scarcely  convincing  wav.  First  plaved  at  the  Abbev  on 
March  11th,  1909. 

O'DwYER  (Delia).     Tlie  Land  Hunger.    A  Plav  in  3 
Acts. 

Not  yet  played. 


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O'Brien  (Mary).     The  Call  of  the  West.  Play. 

Not  vet  played. 

O'Kelly  (Sean).     An  Orphan  Boy, 
Not  vet  played. 

^Mllex  (Ira).  Father  Murphy;  or,  The  Hero  of  Tallow. 
An  Irish  Drama. 

First  performed  by  the  Irish  Amateur  Theatrical  Company, 
at  Workmen's  Club,  Yoik  Street,  Dublin,  on  November 
17th,  1909. 

  The  Spy  of  the  Glen;  or.  The  Patriot's  Return. 

Romantic  Irish  Drama  in  4  Acts. 

Dealing  with  the  '98  period.  Played  in  Dublin,  February 
22nd,  1911,  at  St.  Teresa's  Hall. 

 Major  McFee,  M.P.   A  Farce. 

Produced  for  the  first  time  at  the  Workmen's  Club,  York 
Street,  Dublin. 

Wyley  (Thomas  F.).    Freedom's  Cause;  or,  O'Donnell 
the  Outlaw.    A  Romantic  Irish  Drama. 

First  played  in  Theatre  Royal,  Waterford,  by  the  Water- 
ford  Dramatic  Society,  on  December  6th,  1909. 

Humphries  (Alexander).  Music  hj,  Happy  Hooligau. 
American  Extravaganza  in  3  Acts. 

First  time  in  London  at  the  Lyric,  Hammersmith,  Septem- 
ber 27th,  1909.  Cast  :  16  males  and  6  females.  Three  at 
least  of  the  characters  bear  Irish  names. 

J.  0*E.  The  Spurious  Sovereign;  or,  Nailed  to  the 
Counter.  A  Burlesque  in  a  Prologue  and  4  Acts. 
A  too  long  drawn  out  to  be  funny  skit  on  an  obsolete  type 
of  melodrama,  in  which  the  rightful  heir  to  the  throne  is 
captured  by  pirates,  and  the  pirate  chief  reigns  in  his  stead 
for  the  time  being  until  the  rightful  one  returns.  First 
produced  by  the  Theatre  of  Ireland  at  Molesworth  Hall, 
Dublin,  on'^ March  28th,  1910.  Twelve  characters  in  the 
cast. 


IRISH  PLAYS. 


301 


Xeary  (Con).    Struck.    A  Play  in  1  Act. 

A  true  picture  in  all  its  disagreeable  and  saddening  details 
of  a  strike  in  Cork;  but  unfortunately  the  piece  depends 
more  on  its  dialogue  than  on  its  action  to  carry  it  through. 
Less  dialogue  and  more  action  would  be  a  gain  to  the^  play. 
The  Cork  Dramatia  Society  first  introduced  it  on  the  stage 
on  May  11th,  1910. 

McCarthy  (Justin  Huntly).    The  OTlynn.  (  A  Tale 
of  Love  and  War.)    In  4  Acts. 

The  action  takes  place  in  Ireland  in  the  year  1690,  and 
the  play  is  full  of  exciting  incidents,  with  The  O'Flynn 
as  the  central  figure  in  them  all.  It  was  first  produced 
at  His  Majesty's  Theatre,  London,  on  February  1st,  1910, 
with  Beerbohm  Tree  in  the  title  role.  The  play  is  of  the 
go-as-you-please  melodramatic  order,  full  of  intrigue  and 
love-making.  As  there  are  twenty-four  characters  in  the 
cast  and  six  scenes,  it  is  only  suitable  for  a  large  stage. 
Mr.  McCarthy  is  a  son  of  Justin  McCarthv.  He  was  born 
on  September  30th,  1860. 

  The  Fair  Irish  Maid.  Play. 

Copyright  performance  in  October,  1911,  in  London.  The 
play  is  founded  on  a  novel  of  the  same  name.  The  scene 
is  laid  first  in  Ireland  and  then  in  London,  in  the  years 
1814-18.  It  is  a  love  story,  and  tells  how  the  fair  Irish 
maid — the  last  of  an  old  and  ruined  family,  suddenly  finds 
herself  very  rich,  and  for  a  season  the  queen  of  London 
society — which  brings  many  experiences  into  her  life. 

Downey  (— ).    Rag.    A  Sckool  Play  in  3  Acts. 

It  is  a  simple  little  play  of  convent  school  life  in  Ireland, 
admirably  adopted  for  girls'  schools  "  break  up  "  days.  It 
tells  of  a  little  girl,  nicknamed  "  Rag,"  because  of  her 
mischievous  ways,  and  of  how  another  girl,  whom  she  had 
always  been  nasty  to,  befriends  her  when  trouble  comes  to 
her.  Cast  :  9  females.  Published  (anonymously)  by  M. 
H.  Gill  and  Son,  1910.  The  author  is  a  son  of  Edmund 
Downey,  of  Waterford,  whose  Irish  stories  are  so  well 
known.  This  little  play  has  already  been  performed  with 
much  success,  and  Bishop  Shcchan  "  found  it  interesting, 
the  plot  good,  the  dialogue  flowing  and  pleasant;  the 
moral  tone  sound;  and  the  play  suitable  for  young  girls' 
schools." 


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Clark  (C.  A.).  On  the  Shores  of  the  Shannon.  Drama. 

Produced  for  the  first  time  in  England  at  Liverpool,  June 
13th,  1910.  Cast  :  8  males  and  4  females.  "  Cecil  Ravens- 
wood  "  (Aery  Jacob)  played  the  part  of  "  Father  Fogarty." 
This  actor  was  a  well-known  professor  of  elocution  in 
Dublin  before  he  went  on  the  stage. 

Outcasts  of  Dublin ;  or,  Weeds  and  Flowers  of  Erin.  A 
Comedy  ^Melodrama  in  5  Acts. 

A  crude,  conventional,  sensational  melodrama  of  little  or 
no  merit.  Played  at  Queen's,  Dublin,  June  6t&,  1910. 
Cast  :  10  males  and  3  females. 

Pleydell  (George)  and  Mason  (A.  E.  W.).  The 
Princess  Clementina  .  A  Romantic  Play  in  -4  Acts 
and  8  Scenes.  Adaptec!  from  Mason's  Novel, 
"  Clementina." 

The  period  of  the  play  is  1718,  and  the  hero,  Charles 
Wogan,  an  Irish  adventurer,  the  faithful  adherent  of  James 
Stuart.  The  plot  tells  of  how  AVogan  goes  to  rescue  the 
Princess,  the  betrothed  of  the  "  Old  Pretender,"  and  falls 
in  love  with  her  himself.  The  play  is  full  of  excitement 
and  adventure.  Cast  :  19  males  and  5  females.  First  pro- 
duction, with  H.  B.  Irving  as  "  ^Yogan,"  at  the  Royal, 
Cardiff,  on  December  1st,  1910.  A  son  of  Sir  Squire 
Bancroft  writes  under  the  name  of  "  Pleydell." 

=^=Pearse  (M.  B.j.   The  Message.   A  Play  in  1  Act  and 
an  Epilogue.  • 

It  contains  a  pretty  idea  poetically  worked  out.  Some  rich 
folk  wish  to  adopt  a  little  peasant  child,  and  Donal,  a 
musician,  who  loves  the  child,  rails  against  the  adoption, 
as  he  thinks  it  would  estrange  her  from  her  people  and 
from  Ireland,  as  the  rich  and  the  poor  are  opposed  to  each 
other  in  this  country.  Through  the  power  of  his  sadly 
sweet  music  he  wins  over  one  of  those  wealthy  folk  to  his 
way  of  thinking,  and  she,  seeing  things  vdth  his  eyes,  and 
confessing  lier  love  for  him,  determines  to  love  both  her 
country  and  him  for  ever  more.  The  play  is  full  of  kindly 
sentiment  and  love  of  country.  Kitchen  scene.  Cast  :  3 
males,  4  females,  and  2  children.  First  played  at  Abbey 
by  the  Leinster  Stage  Society  on  May  27th,  1910. 


IRISH  PLAYS. 


303 


 Over  the  Stile.    A  Play  in  2  Scenes. 

This  is  a  bright  little  piece,  with  love-making  as  its  chief 
ingredient.  An  old  man  tries  to  play  a  practical  joke  on 
two  loving  couples  and  fails  in  his  attempt,  with  the 
result — he  gives  them  his  blessing,  and  all  is  right  as  right 
can  be  in  tlie  end.  Exterior  scenes.  Cast  :  3  males  and  3 
females.  A  four-handed  reel  can  be  introduced  with  effect 
in  scene  one.  Revival  version  plavcd  at  Abbev  by  Leinster 
Stage  Society,  May  22,  1910. 

■^^Markievicz  (Casimir  Dunin\    The  Memory  of  the 
Dead.   A  Romantic  Drama  of  '98  in  3  Abts, 

This  is  a  stirring  story,  with  the  rising  of  the  year  '98  as 
a  background.  "  If  patriotic  sentiment  is  wanted,  we've 
patriotic  sentiment  cut  and  dry  "  in  plenty  in  this  play; 
and  the  story  it  tells  is  of  two  rivals  for  the  hand  of  a 
maiden  fair  to  see.  The  play  was  first  produced  at  the 
Abbey  by  the  Independent  Dramatic  Company  on  April 
14th,  1910.  There  are  nine  characters  (seven  male  and  two 
female)  and  two  scenes  in  the  play.  It  is  full  of  "  piping 
hot  "  patriotism  to  suit  popular  audiences.  In  a  revised 
version  played  at  the  Queen's,  Dublin,  on  April  15th,  1911, 
an  entire  new  scene  was  added  to  the  text. 

 Rival  Stars.    A  Play  in  3  Acts. 

A  study  of  Bohemian  artistic  life  in  Paris.  One  of  the 
most  real  characters  in  the  piece  is  an  old  servant,  Mary, 
hailing  from  Tyrone.  Nora  Fitzpatrick  created  this  role. 
Ca-st  :  6  males  and  3  females.  First  produced  at  the  Gaiety, 
Dublin,  bv  The  Independent  Theatre  Co.  on  December  12, 
1911. 

===TiGHE  (Michael  J.)  The  Mayor  of  Galwciy.  An  His- 
torical Tragedy,  founded  on  the  incident  of  young 
Lynch  being  hanged  by  his  father. 

Produced  in  Galway  in  1910. 

^•^AFcSwixNEY  (T.  J.).  The  Last  Warriors  of  Coole.  A 
Hero  Play  in  Verse  in  1  Act,  dealing  with  the 
coming  of  Fionn. 

The  last  warriors  of  Coole  find  their  power  passing  away 
into  the  hands  of  tlie  IMen  of  Morna.    In  their  extremity 


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GUIDE  TO  BOOKS   ON  IRELAND. 


Crimal  has  kept  them  alive  by  his  dream  of  the  coming  of 
Fionn,  who,  having  defeated  the  Meu  of  Morna,  rescued 
them  in  the  end.  Successfully  produced  by  the  Cork 
Dramatic  Society  in  the  Dun  Theatre  on  November  2nd, 
1910.  Cast  :  6  male  characters.  Scene,  a  retreat  in  a  wood. 

  The  Holocaust.      A  One-Act  Tragedy  of  slum 

life,  in  which  the  problems  of  unemployment, 
underfeeding,  joylessness,  and  unregarded  misery 
are  touche'd  upon  with  dramatic  effectiveness. 

Cast :  3  males,  1  female,  and  1  child.  First  played  at  the 
Dun,  Cork,  on  December  27th,  1910. 

  Manners  Masketh  Man.     A  little  Drawingrodm 

Comedy  in  a  light  vein  of  satire. 

Produced  for  the  first  time  at  Cork  in  Easter  week,  1911, 
by  the  Cork  Dramatic  Society,  April  19th.  Cast :  1  male 
and  4  females. 

 The  Wooing  of  Emer.     A  Play  in  3  Acts. 

Act  1  takes  place  in  the  shadow  of  trees  by  the  river  beyond 
the  Dun  of  Forgal,  and  Acts  2  and  3  within  the  rampart  of 
the  Dun.  Cast  :  9  males,  2  females,  warriors,  etc.  First 
performance  by  the  Cork  Dramatic  Society  at  the  Dun 
Theatre,  Queen  Street,  Cork,  Wednesdav,  December  6, 
1911. 

Burns  (Tom).   Colonel  O'Sliea's  Wager. 
Not  yet  acted. 

Hanly  (John).     Angela     A  Play  in  4  Acts. 
Not  yet  acted. 

Reilly  (Miss  Anne).     Alone.  Sketch. 
Not  yet  acted. 

*OxENFORD  (Edward),  libretto  by;  and  ^'^Bozzelli 
(Sigiior),  music  by.  The  Lord  of  Corrigogunnel. 
Cantata,  founded  on  an  old  Irish  legend. 

First  sung  in  Dublin  on  March  1st,  1910,  at  Anticnt  Con- 
cert  Rooms,  the  composer  conducting. 


TRTSTI  PLAYS. 


305 


'•^Harty  (Hamilton),  music  by.  With  the  Wild  Geese. 
Tone  Poem,  written  for  and  produced  at  the  Car- 
diff Festival  in  September,  1910. 

The  music  having  for  its  basis  two  poems  on  the  subject 
by  Emily  Lawless.  They  tell  of  the  Irish  exiles  who  fled 
to  the  Continent  on  the  surrender  of  Limerick  in  1691, 
where  they  became  soldiers  of  fortune,  noted  for  their 
bravery,  particularly  at  the  Battle  of  Fontenoy  in  1745. 
At  this  battle  the  majority  of  tliem  perished,  and  a  legend 
tells  that  their  ghosts  sailed  back  to  L-eland.  It  is  this 
episode  that  Mr.  Harty  illustrates,  and  it  has  inspired  him 
with  several  significant  themes. 

*BouRKE  (P.  J.).  When  Wexford  Rose.  A  Historical 
Melodrama  of  the  '98  Period. 

Produced  by  the  New  Ireland  Dramatic  Society  on  May 
5th,  1910,  in  Dublin.  It  has  the  fault  of  having  a  number 
of  short  scenes,  involving  frequent  changes  of  scenery. 
The  sentiment  of  the  piece  is  all  right  for  popular  Irish 
audiences. 

'^'LowRY  (A.).   The  West  Briton's  Romance. 

The  writer  of  this  play  was  the  winner  of  the  Gireachtas 
drama  prize,  1910. 

 Himself  and  the  Widda.    A  1-Act  Comedy. 

This  amusing  little  piece  was  first  played  in  St.  Martin's 
Hall,  Liverpool,  by  the  dramatic  branch  of  the  Gaelic 
League,  "  The  Irish  Amateurs,"  on  November  6th,  1911. 
Mr.  Lowry  is  a  local  author. 

BouRKE  (P.  J.).    The  Northern  Insurgent.  Plaj'. 

The  scene  is  laid  in  County  Antrim  in  1798.  Played  at 
new  National  Schools,  North  Rutland  Street,  Wednesday, 
January  3,  1912,  with  author  in  cast. 

^^=HuRS0N  (George  J.).     A  Daughter  of  Ireland.  Irish 
Drama  in  4  Acts  and  8  Scenes. 

A  popular  play  of  the  '98  period,  full  of  excitement.  A 
love  story  of  interest  is  woven  into  the  incidents  of  the 
troubled  times,  with  a  strong  part  for  the  heroine.    Cast  : 


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9  males  and  6  females.  First  pla^yed  in  Dublin  by  the 
Pioneer  Dramatic  Club  on  December  26th,  1910.  A  very 
young  actress — Kathleen  Drago — made  a  notable  hit  in  the 
title  role 

*DuKEs  (AshlejO.     Civil  War.   A  Comedy  in  4  Acts. 

A  clever  play,  with  the  Romeo  and  Juliet  idea  of  the  son 
and  daughter  of  two  deadly  enemies  falling  in  love  with 
each  other,  and  in  the  end  getting  their  parents'  blessing. 
The  father  of  the  son  is  a  stiff  necked  old  squire,  represent- 
ing feudal  ideas;  and  the  father  of  the  daughter  is  an  old 
Irish  revolutionary  who  has  played  a  part  in  risings  all 
over  Europe.  First  played  by  the  Incorporated  Stage 
Society  at  Aldwych  Theatre,  London,  on  Thursday,  June 
7th,  1910.  Cast  :  7  males  and  4  females.  The  scene  is 
laid  in  England. 

^^liEARNEY  (Peter).     The  Call  to  Arms.     A  Historical 
Drama  in  4  short  Scenes. 

It  deals  with  the  career  of  Peter  O'Neill  Crowley,  who  died 
for  Ireland  in  the  Fenian  rising  of  1867.  Cast  :  7  males  and 
3  females.  Performed  in  Dublin  by  the  New  Ireland 
Dramatic  Society,  October.  1910. 

^YA^  (William  Patrick^     The  Wake  of  the  People. 
1847.  Play  in  4  short  scenes. 

Paitlv  written  in  blank  verse.  Cast  :  5  males  and  1 
female.  Published  by  M.  H.  Gill  and  Son,  Dublin.  A 
yovmg  man  returns  to  Ireland  during  the  famine  time,  to 
find  his  mother  dead,  and  the  girl  he  loves  dying,  and  all 
the  country-side  around  desolate  and  dreary  with  famine- 
stricken  people.  A  ghoulish  wild  poet,  Rory,  chants  a 
dirge  over  the  country  as  he  wanders  through  the  deserted 
villages  and  plains.  The  play  gave  mo  a  "  creepy  "  feel- 
ing as  I  read.  The  author  was  born  at  Bansha,  County 
Tipperary,  about  1865. 

  The  Teacher  from  Faiiyland.      (An  t-Oide  a^s 

Tir-na-nOg).    A  Bi-lingual  Play. 

Played  at  the  Oireachtas,  1910,  Rotunda,  Dublin.  The 
play  represents  the  conflict  of  the  two  systems  of  educa- 
tion, the  old  and  the  new.  The  old  sent  Ireland  into 
forgetfulness.  The  new — which  in  reality  is  the  older  be- 
cause it  is  the  native  system — restores  to  Ireland  her  senses 
and  her  joys. 


IRISH  PLAYS. 


307 


Ferguson  (Sir  Samuel).   The  Naming  of  Cuchulain. 
A  Dramatic  Scene. 

Depicts  the  first  great  incident  in  the  life  of  the  mighty 
hero.  In  it  we  are  told  how  Selanta,  a  youth  in  fosterage 
with  Conor  Mac  Nessa,  in  his  early  youth  strangled  the 
"  cu,"  or  greyhound,  of  the  King's  smith,  Culaun,  and  how 
the  name  Cuchulain  was  given  him  in  remembrance  of  the 
deed  of  prowess.  Played  by  the  Ulster  Literary  Theatre 
in  Belfast  on  March  9th,  1910.    Cast  :  10  males. 

 Deirdre.     A  Dramatic  Poem. 

Sir  Samuel  was  born  in  Belfast,  March  lOth,  1810,  and 
died  at  Howth  on  August  9th,  1886. 

'^•WoRTHiNGTON  (E.  K.).   Tlio  Burdon.   Play  in  1  Act. 

The  scene  of  this  piece  is  laid  in  a  public-house  at  the  foot 
of  a  bleak  hill  near  the  sea,  and  it  tells  the  story  of  an 
old  fiddler  who  has  heard  fairy  music  and  becomes 
possessed  of  magical  musical  ability,  which  he  saj-s  enables 
him  to  do  wonderful  things.  Three  times  only  can  the 
old  fellow  play  a  magical  tune,  and  at  the  third  time  of 
his  playing  he  dies.  Some  country  folk  scoff  at  the  old 
man's  ability  to  do  what  he  says,  and  goad  him  on  to  play 
three  times,  with  tragic  result.  Six  male  characters  and 
one  female  make  up  the  cast.  The  play  was  first  produced 
by  the  Cork  Dramatic  Society  on  May  11th,  1910,  and  met 
with  success. 

^•'Gregan  (James).     Teig  Gorcoran's  Courtship.    A  1- 
Act  Comedy  of  the  present  day. 

Produced  by  the  New  Ireland  Dramatic  Society  in  Dublin 
on  May  5th,  1910.  The  little  piece  possesses  genuine 
humour.  The  stratagems  that  a  young  man  resorts  to  to 
avoid  marrying  the  girl  he  has  no  desire  to  forms  the  kernel 
of  the  plot.  It  is  in  three  scenes,  with  a  cast  of  five  males 
and  four  females. 

Williams  (C.  Morton).     A  Day  in  Dublin. 
Not  yet  acted. 

Shakespeare  (T.  P.).     The  Creamery  Clerk. 
Not  yet  acted. 


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Cronan  (Dinal).     The  Toy  Part. 
Not  yet  acted. 

=^=McGloughlin  (Alfred).       Morgan  O'Friel."  The 
Fugitive.     An  Incident  of  1690. 

Scene  in  the  house  of  a  Wi  Ilia  mite  in  Count}'  Cork,  whose 
sister  is  a  Jacobite.  A  man  comes  in  whom  the  owner 
mistakes  for  a  \Yilliamite  officer,  but  he  afterwards  pre- 
tends to  the  lady,  when  he  is  in  a  tight  fix,  that  he  is 
King  James,  and  she  effects  his  escape  by  the  window, 
only  to  learn  that  the  fugitive  was  none  other  than  a 
]ioted  highwayman,  and  that  his  fellows  have  made  off  with 
the  best  silver  and  best  horses  in  her  brother's  stables. 
First  played  at  the  Abbey  on  May  31st,  1910,  by  the 
Students'  Union  of  the  Metropolitan  School  of  Art.  Cast  : 
3  men  and  1  woman. 

 The  Skull.    A  Farce  in  1  Act. 

A  farmer's  wife  unearths  a  skull  in  her  husband's  fields, 
and  brings  it  home.  On  seeing  it  the  farmer  gets  into  a 
state  for  fear  he  might  be  suspected  of  the  murder  of  a 
missing  neighbour.  After  many  situations  of  comic  terror, 
the  skull  turns  out  to  be  that  of  a  valuable  monkey  that 
died  in  a  travelling  circus  and  happened  to  get  buried  in 
the  fields,  and  the  farmer  gets  rewarded  instead  of  gaol 
for  finding  it  in  the  end.  The  scene  is  laid  in  a 
farmer's  kitchen  in  the  outskirts  of  a  small  village  iii  North 
Donegal.  Time,  the  present.  A  trifle  not  too  skilfully 
worked  out.  Plaved  at  the  Abbey  Theatre  bv  the  Leinster 
Stage  Society,  Feb.  23rd,  1911."  Cast  :  3  '^malcs  and  1 
female. 

••'White  (Barton).   The  Remedy.   A  3- Act  Farce. 

A  captain  loves  the  seaside,  and  his  wife  doesn't,  but  finds 
herself  there  all  the  same.  She  welcomes  a  couple  of 
adventurers  to  the  house,  and  they  soon  succeed  in  break- 
ing up  the  home.  They  tell  the  captain  that  if  he  had  any 
serious  trouble  his  wife's  affection  would  come  back  to  him; 
till  ultimately  they  get  him  to  dispose  of  his  home.  He 
enta'usts  them  with  the  money  to  buy  it  back  again,  never 
to  see  them  more.  On  their  departure  the  husband  and 
wife  become  reconciled.  Court,  London,  May  5th,  1911. 
The  adventuress  is  an  Irishwoman.  Cast  :  9  male  and  5 
female  characters. 


IRISH  PLAYS. 


309 


•"^'Waters  (C).    Sheila's  Dilemma.    Comedietta  in  1 
Act. 

The  piece  is  crisp  and  original.  Cast :  1  male  and  4 
females.  Played  at  a  Charity  Matinee  at  Gaiety  Theatre, 
Dublin,  January  12th,  1911. 

Pearse  (P.  H.).  A  Passion  Play.  In  3  Acts.  (Spoken 
in  Irish). 

Act  one  depicted  the  Garden  of  Gethsemane;  Act  two,  the 
Court  of  Pilate;  and  Act  three,  the  side  of  Calvary.  This 
latter  scene,  as  depicted  by  the  pupils  of  St.  Enda's  College 
and  of  St.  Ita's  College,  at  the  Abbey  Theatre,  on  Friday, 
April  7th,  1911,  was  the  most  profoundly  impressive  and 
touching  I  ever  beheld.    Its  very  simplicity  Avas  its  charm. 

Gardiner  (R.).   My  Jealous  Partner.  A  1-Act  Sketch. 
Not  yet  acted. 

MacLoughlin  (J.).    The  Mills  of  God.    A  3- Act  Play. 
Not  yet  acted. 

Montgomery  (J.).    The  Alarm  Clock. 
Not  yet  acted. 

The  Plot.   A  Comedy  in  2  Acts. 

Time,  the  present  day.  The  first  act  takes  place  in  a  sub- 
urban barber's  shop  near  Dublin;  and  the  second,  in  the 
parlour  of  a  dairyman's.  Cast  :  7  males  and  2  females.  First 
played  at  Carrickmacross,  by  the  Farney  Playexs,  on  April 
18th,  1911.    Written  by  a  member  of  the  Society. 

^=Erving  (St.  John  G.).   Mixed  Marriages.   A  Play  in 
4  Acts.    (Maimsel  &  Co.,  Dublin.) 

The  action  of  the  play  takes  place  in  the  living  room  of  a 
small  kitchen-house  in  a  street  midway  between  the  Shan- 
kill  and  Falls  Road,  Belfast,  during  a  strike  in  which 
Catholic  and  Orange  workmen  are  alike  concerned.  John 
Rainey,  an  Orangeman,  is  trying  to  keep  the  strikers  from 
rioting  amongst  themselves,  until  he  discovers  that  his  son 
has  become  engaged  to  a  Catholic  girl.    Then  he  loses  his 


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head  and  incites  the  men  to  quarrel,  and  the  girl,  the 
innocent  cause  of  it  all,  is  killed  in  the  riot.  The  scene  is 
laid  in  the  present  day.  The  play  is  a  clever,  topical  "  dis- 
cussion," with  some  moments  of  real  drama  in  it.  Marie 
O'Neill  made  a  big  hit  in  the  splendidly-drawn  character 
of  "  Mrs.  Eainey,"  a  homely,  sensible  woman,  brimful  of 
human  nature.  First  played  at  the  Abbey  on  Thursday, 
March  301h,  1911.    Cast  :  4  males  and  2  females. 

  The  Magnanimous  Lover.     A  realistic  Sketch  of 

humble  Belfast  life  in  1  Act. 

Accepted  at  the  Abbey.  Published  by  Maunsell  and  Co., 
Dublin. 

  The  Eviction.     A  short  Vlay. 

Not  yet  acted. 

•''Vernon  (H.  M.),  libretto  hy,  and  '''Tours  (Frank), 
music  by.  Macarthy's  Troubles.  A  Musical 
Comedy  Sketch  in  1  Act. 

Scene,  Dodo-land,  an  imaginary  island  in  the  South  Seas. 
The  King  of  the  Island  has  just  died,  and  the  law  has  it  that 
the  first  white  man  who  lands  within  a  specified  time  must 
be  proclaimed  king.  Failing  this,  the  crown  is  to  pass  to 
the  Prime  Minister.  At  the  critical  moment  a  shipwrecked 
Irishman,  Macarthy,  turns  up,  much  to  the  annoyance  of 
the  Minister,  who  plots  to  murder  him.  The  plot  fails, 
and  Macarthy  settles  down  as  king,  with  a  princess  as 
his  bride,  and  lives  happy  ever  after,  as  you  and  I  may, 
"  as  the  story  tellers  have  it."  Shaun  Glenville  pla3'ed 
"Macarthy."  Cast:  3  males  and  2  females.  Produced 
on  May  15th,  1911,  at  the  Hippodrome,  Portsmouth. 

■••^Glenville  (Mrs.).  Kitty's  Troubles.  Comedy  Sketch. 

Produced  at  the  Eotunda,  Dublin,  on  Easter  Monday, 
April  17th,  1911,  with  the  authoress — a  well-known  im- 
personator of  comedy  characters  in  Irish  plays — in  the 
title  role.    Cast  :  2  males  and  1  female. 

•''Burnett  (Francis  Hodgson)  and  Stanley  (Frederick 
A.).  JudyO'Hara.  Play. 

Produced  in  America,  1911. 


IRISH  PLAYS. 


311 


*Tearle  (Godfrey).  The  Waiting  Game.  A  1-A-ct 
Plav  (which  appeared  in  Pearson's  Magazine, 
April,  1911). 

It  was  originally  produced  for  stage-right  purposes  at  the 
Duke  of  York's  Theatre,  London.  First  public  perform- 
ance, September  4th,  1911,  at  London  Pavilion,  with  the 
author  in  the  part  of  a  Canadian  mounted  policeman,  and 
Miss  ]\Iary  Malone  in  that  of  a  young  Irish  girl  new  to  the 
rough  ways  of  the  West. 

•^IvEHOE  (P.).    When  Wexford  Rose,  etc.,  to  '98. 

Published  by  the  Echo  Printing  and  Publishing  Company, 
Enniscorthv,  1911,  with  foreword  bv  Rev.  P.  F.  Kavanagh, 
O.F.M.  (the  Historian  of  1798).''  Period  :  Midsummer. 
Locality  :  Near  Oulart.  Scene  :  A  Cottage  Interior. 
After  the  rising  a  rebel  seeks  his  mother's  home 
and  soon  the  soldiers  come  to  search  the  place.  The 
rebel  makes  his  escape  into  another  room,  and  his  mother's 
answers  to  the  officer's  queries  not  satisfying  him,  he  is 
about  to  arrest  her.  Her  cries  for  help  brings  her  son  on 
the  scene  and  he  is  captured.  The  officer  will  let  Mm  off 
if  he  informs  on  his  comrades.  This  he  refuses  to  do. 
After  a  touching  interview  between  mother  and  son,  the 
mother  backs  up  her  son's  resolve.  The  officer  is  so 
annoyed  at  this  that  he  orders  both  mother  and  son  to  be 
hanged,  and  the  soldiers  are  about  carrying  out  his  com- 
mands when  a  party  of  rebels  arrive,  and  amid  a  scene  of 
much  excitement,  rescue  the  condemned  pair.  The  piece 
is  well  written,  interesting  and  dramatic.  Cast  3  males 
and  1  female.  Played  for  the  first  time  in  Dublin  at 
Queen's,  November  13,  1911. 

Easter  Fire  on  the  Hill  uf  Slane.  An  Ano'lo-Irish 
Play. 

Produced  by  the  pupils  of  St.  Mun chin's  College,  Limerick, 
on  May  7th,  1911.  The  play  deals  with  the  introduction  of 
Christianity  into  Ireland. 

'^•^IacCarthy  (Brian).  Down  in  Kerry.  An  episode  in 
2  Acts. 

The  scene  is  laid  in  a  cottage  in  Kerry,  and  the  story  it  has 
to  tell  in  a  simple  way  is  the  saving  of  a  young  country 
girl  from  the  great  white  scourge  through  being  sent  to  a 


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sanatorium  in  the  nick  of  tinie.  The  play  is  frankly  a 
propagandist  one,  yet  it  gives  a  charming  picture  of  rural 
life  at  the  same  time.  Produced  by  amateurs  at  the  Abbey 
on  Tuesday,  February  28th,  1911.  Cast:  3  males  and  4 
females. 

^Stuart  (Gerald  Villiers).  The  Drums  of  Doom.  Play 
in  1  Act. 

The  action  of  the  play  takes  place  in  a  Western  State  of 
America.  The  wife  of  a  condemned  man  is  expecting  his 
reprieve  at  any  moment,  but,  alas!  it  comes  not  in  the 
end,  and  the  man  dies.  Cast  :  2  males  and  1  female. 
The  part  of  the  condemned  man's  wife — "  Mrs.  Jim  Fitz- 
gerald " — was  played  by  Lady  Tree  at  the  Scala  Theatre, 
London;  1911. 

The  Doctor's  Boy.  Sketch. 

Played  at  Rotunda,  Dublin,  on  April  17th,  1911.  Cast  : 
3  males  and  2  females. 

The  Bailiff  of  Ballyf oyle ;  or,  Ireland  in  the  Penal  Days. 
Drama. 

Played  by  the  Workmen's  Club  Dramatic  Society  at  41 
York  Street,  on  Wednesday,  September  27th,  1911* 

A  Brand  from  the  Burning.   A  Play  in  1  Act. 

Scene,  the  common  room  in  Margaret  Cesar's  Inn,  Carrick- 
macross,  in  the  year  1682.  A  rebel  and  the  Cromwellian 
soldiers  play  an  important  part  in  the  plot.  Cast :  4  males 
and  2  females.  Played,  for  the  first  time  on  any  stage,  by 
the  Farney  Players  at  the  Catholic  Hall,  Carrickmacross, 
April  18th,  1911.  Play  written  by  a  member  of  the 
Society. 

••Murray  (Tom  E.^  and  Baynes  (Eustace),  book  and 
lyrics  by,  and  Ives  (Malcolm  C),  music  by.  The 
Harem  Doctor.   A  Musical  Comedy  in  3  Scenes'. 

The  scenes  take  place  in  Market  Place,  Tunis,  and  Pasha's 
Palace.  "  It  concerns  the  adventures  of  a  shipwrecked 
Irish  mariner — Felix  Lucky — who,  when  disguised  as  a 
French  physician  and  appointed  medical  adviser  and  Grand 
Vizier  to  the  hypochondrical  Pasha,   prescribes  '  Scotch 


IRISH  PLAYS. 


313 


neat  '  for  his  Highness  and  kisses  fur  the  ladies  of  tho 
liarem."  First  played  at  the  Queen's  Park  Hippodrome, 
Manchester,  Monday,  September  4th,  1911.  Cast  :  9  males 
and  9  females. 

•'^^O'SiiEA  (Patrick).   Gliocas.   A  1-Act  Bi-lingiial  Play. 

Performed,  for  the  first  time  on  any  stage,  at  the  Rotunda  j 
Dublin,  at  the  Oireachtas,  on  Saturday,  August  5th,  1911. 
It  deals  with  the  troubles  of  an  Englishman,  who  has  been 
pitchforked  into  a  position  for  which  he  is  utt-erly  un- 
suited — that  of  Old  Age  Pension  Officer  in  an  Irish- 
speaking  district,  where  English  is  unknown.  Eight 
characters  in  cast.  The  author  hails  from  Calierdaniel, 
County  Kerry. 

•^'Barlow  (Jane).  At  the  Hawthorne  Bush.  A  Dialogue. 

Read  by  J.  M.  Kerrigan,  of  the  Abbey  Theatre  Company, 
at  the  Original  Night."  National  Literary  Society, 
Dublin,  February  27th,  1911.  Miss  Barlow  is  the  daughter 
of  the  Rev.  J.  W.  Barlow,  Vice-Provost  of  Trinity  College, 
Dublin.    She  was  born  at  Clontarf,  County  Dublin. 

  A  Bunch  of  Lavender.    A  Comedy  of  Irish  Life 

in  2  Scenes. 

Played  at  the  Theatre  of  Ireland  in  their  Hall,  Hardwicke 
Street,  Dublin,  December  18th,  1911.  Cast  :  3  males  and 
3  females.  The  scene  is  laid  in  a  garden.  Time  :  Early 
in  the  Nineteenth  Centur}*.  Though  the  play  is  weighted 
with  words,  there  is  an  old  world  charm  about  it.  A  proud 
woman  disowns  her  son  for  marrying  beneath  him,  and  he 
dies  abroad,  and  the  girl  he  has  wed  also  dies  of  a  broken 
heart.  The  grandfather  of  the  latter  comes  to  the  lady's 
garden  to  gather  a  few  flowers  to  strew  over  the  grave  of 
his  grand-daughter  and  is  ordered  out  of  the  place.  He 
then  puts  a  bitter  curse  on  the  place,  and  years  after  it 
falls  on  the  young  man  who  is  engaged  to  the  proud 
woman's  daughter,  and  the  play  ends  on  tragic  note.  Frank 
Walker  made  a  notable  success  in  the  role  of  old  Murtagli 
Regan. 

The  Feis  at  Ancient  Tara.     A  Historical  pageant  in 
2  Acts. 

Performed  at  Rotunda  Gardens,  Dublin,  August,  1911. 
Oireachtas  Week.    Produced  by  Fred  IMorrow. 


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Day  (Miss  R.).    Out  of  Deep  Shadow.  Play. 
Not  yet  acted. 

McLoREN  (John).     The  Soggarth  Aroon. 
Not  yet  acted. 

HoGAN  (Patrick).    The  Widow's  Curse. 
Not  yet  played. 

"^'MuLDooN  (Joseph  Malaohi).  A  Hospital  Ward.  A 
Tragedy  in  1  Act,  founded  on  fact. 

Scene,  a  ward  in  an  American  hospital.  On  the  point  of 
death  an  Irish  exile  discovers  that  his  nurse  is  the  long 
lost  Eileen  of  his  dreams.  The  little  piece  is  a  trifle 
harrowing  and  over  long  drawn  out.  Cast  :  3  males  and  3 
females.  This  piece  was  tried  in  the  country  before  being 
played  at  the  Queen's,  Dublin,  on  Monday,  September  4th, 
1911  (matinee),  by  the  Irish  Theatre  and  National  Stage 
Company. 

  The  West's  Awake.    National  Drama  in  3  Acts. 

Produced  by  the  Sligo  Dramatic  Company  in  January,  1911. 
Kevived  at  Queen's,  Dublin,  by  the  Irish  Theatre  and 
National  Stage  Company,  Monday,  June  26th,  1911. 
Period  of  play,  1798.  An  exciting  melodrama  of  the 
popular  kind,  each  scene  ending  in  a  thrilling  situation. 
Cast  :  11  males  and  3  females. 

•^•MuLDOON  (John  and  Joseph).  For  Ireland's  Sake;  or, 
Under  the  Green  Flag.  A  Eoniantic  Irish  Drama. 
(Ponsonby).  Is. 

  A  Trinity  Student.    (1911).   A  Modern  Comedy 

in  5  Acts. 

Therein  is  depicted  the  life  of  a  Trinity  student,  whose 
story,  though  humorous,  is  not  without  its  pathos.  The 
scene  of  most  of  the  comedy  is  laid  in  Dublin.  To  be  pro- 
duced by  the  Irish  Theatre  Company. 

Around  the  World.  Spectacular  Entertainment  in  15 
Scenes,  constituting  pictures  of  various  nations. 

The  final  scene  of  part  one  represents  Blarney  Castle, 
Ireland,  and  is  full  of  sweet  colleens  and  bhoys  "  with 


IRISH  PLAYS. 


shillelaghs  " — a  stage  Ireland  of  the  most  approved  pattern. 
First  produced  at  New  York  Hippodrome,  September  2nd, 
1911. 

••=GuiNAN  (John).  The  Cuckoo's  Nest.  A  Comedy  in  Irish 
Life  in  3  Acts,  with  a  well  drawn  character  sketch 
of  a  middle-aged  man  as  chief  figure  in  the  cast. 

Not  yet  acted.    (October,  1911). 

  Tlie  Fairy  Follower.    A  Play  in  I  Act. 

Published  in  the  St.  Patrick's  Day  No.  of  Weeldy  Freeman, 
1908,  but  not  yet  acted. 

  The  Buckle  Beggar.     A  Play  in  1  Act.  (1909). 

Not  yet  acted  nor  printed.  It  is  not  unlikely  that  one  of 
Guinan's  plays  may  be  produced  at  the  Abbey  shortly. 

  Rustic  Rivals.    A  1-Act  Comedy.  (1905). 

Published  in  a  special  St.  Patrick's  Day  Number  of  the 
Weekly  Freeman,  1906,  but  never  yet  acted. 

Darling  (S.  Grenville).  The  Forge.  An  Irish  Play  in 
3  Acts. 

The  scene  is  laid  in  some  thinly-populated  district  in  tlie 
County  Limerick,  about  twenty  miles  from  the  town,  in 
the  present  day.  An  aged  blacksmith  disowns  his  only 
daughter  because  he  thinks  she  has  gone  wrong  with  a 
gentleman,  and  even  when  they  are  married  he  still  wdll 
have  nothing  to  say  to  her,  and  goes  to  the  poorliouse 
sooner  than  accept  anything  at  her  hands.  Cast  :  7  males 
and  2  females.  The  old  man  is  a  very  powerfully  drawn 
character.    Not  yet  acted.    (October,  1911). 

^'Birmingham  (George  A.).  Eleanor's  Enterprise.  A  3- 
Act  Comedy  of  Irish  life. 

The  scene  is  laid  in  the  West  of  Ireland,  and  its  story  tells 
how  Eleanor  Maxwell,  a  Girton  girl,  tries  to  better  the  con- 
dition of  the  country  folk,  and  how  the  experiment  ends  in 
failure.  First  produced  by  the  Independent  Theatre  Com- 
pany at  the  Gaiety,  Dublin,  December  11,  1911,  with  great 
success.     John  Connolly  and  Helena  Moloney  as  Paudeen, 


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and  Mrs.  Fiiuiegan,  on  whom  "  Eleanor's  enterprise  "  falls, 
won  unstinted  praise  for  their  realistic  character  studies. 
Cast  :  7  males  and  6  females.  The  Rev.  J.  O. 
Hanney,  Rector  of  Westport,  puts  forth  his  literary  efforts 
under  the  name  of  "  Birmingham."  He  has  ^mtten  quite 
a  number  of  novels  on  Irish  subjects.    This  is  his  first  play. 

Varian  (Suseen)  and  Varian  (Jo]in\  Cuchulain  : 
Oisin  the  Hero.  A  Cycle  of  Pla3\s.  Crown  8vo. 
Cloth.  Is.   Sealy,  Bryers  &  Walker,  Publishers. 

Neither  of  those  legendary  plays  have  as  yet  been  staged. 

=^^GoRE-BooTn  (Eva").  Tlie  Triumph  of  ]\Iaeve.  A 
Romance. 

Cast  in  dramatic  form.  The  main  theme  is  the  same  as 
that  used  in  Mr.  H.  Pelissier's  cantata,  Connla  of  the 
Goldeji  Hair.  (Published  bv  Longmans,  Green  and  Co. 
7s.  6d.)    1906.    Never  actedl 

  The  Buried  Life  of  Deirdre.   A  Poetical  Play. 

^Accepted  by  the  Theatre  of  Ireland.  (October,  1911).  Not 
yet  act-ed. 

^Mitchell  (Susan  L.),  edited  by.  Leaguers  and 
Peelers ;  or,  The  Apple  Cart.  A  Dramatic  Saga 
of  the  Dark  Ages,  in  2  Acts. 

An  amusing  skit,  written  in  verse  to  popular  airs  on  up-to- 
date  Irish  topics.  Published  in  The  Irish  Review  for 
October,  1911.  If  produced  at  a  Gaelic  League  entertain- 
ment it  would  be  likely  to  go  right  well. 

^TuRCELL  (R.  J.)  and  ^^^Doran  (F.  G.).  Pat  Maher's 
Temptation.     A  Play  in  3  Scenes.  (1911). 

Locality  :  The  Townland  of  CuUamorc,  a  mountainous  dis- 
trict in  Munstor.  Cast  :  3  males  and  2  females.  It  has 
not  yet  been  acted.  It  is  naturally  and  effectively  written, 
and  ought  to  play  well.  The  dialogue  rings  true  and  never 
halts.  Two  small  farmers  of  the  name  of  Maher  live  close 
to  each  other — Pat  and  Peter  by  name.  They  each  have  a 
son  in  the  States.  Pat  is  in  low  water  and  Peter  in  easy 
circumstances.  The  latter  often  hears  from  his  son,  who 
sends  money  regularly  to  the  old  folks  at  home ;  the  former 


IRISH  PLAYS. 


317 


never  from  his.  All  the  incidents  in  the  play  centre  round 
a  drunken  postman's  mislaying  a  registered  letter  addressed 
to  "  Mr.  P.  Maher  "  in  Pat's  house,  and  his  neighbours 
accusing  him  of  stealing  it,  and  when  the  letter  is  finally 
opened  it  is  found  to  be  from  Pat's  son  enclosing  ^50 — a 
sum  that  will  tide  him  over  his  difficulties.  Tlie  writers  are 
Civil  Servants. 

^•'Stephens  (Jaiiies).  The  Marriage  of  Julia  Elizabeth. 
A  Dublin  Comedy  in  1  Act. 

PlayeKl  for  the  first  time  on  the  opening  night  of  the 
Theatre  of  Ireland's  new  Hall,  Hardwicke  Street,  on 
November  17th,  1911.  Cast  :  2  males  and  1  female. 
Scene  :  The  living  room  in  a  humble  home.  The  piece  is 
very  slight,  but  full  of  common-folk  Dublin  talk.  The 
parents  of  Julia  Elizabeth  chat  over  their  supper  about  their 
daughter,  who  has  been  away  from  home  since  morning, 
and  who  seems  to  do  very  much  as  she  pleases.  A  young 
man  comes  on  to  propose  for  her  hand  and  her  parents  are 
pleased  to  accept  him,  when  a  letter  arrives  from  the  absent 
one  informing  her  parents  that  "  she  has  got  married  to  a 
man  who  keeps  a  fried  fish  shop  that  morning."  Dejection 
follows  this  announcement,  and  the  young  man  departs 
thanking  them  "  for  the  very  pleasant  evening  he  has  had.'* 
Stephens,  who  wrote  this  piece,  is  a  poet  and  storyteller  of 
talent. 

=^=Kelly  (Paddy).    The  West  Wind.     A  Playlet  in  2 
Scenes. 

Cast :  3  males  and  1  female.  Scene  :  Kitchen  in  a  cottage. 
This  little  piece  is  scarcely  more  than  a  chat  between  an 
old  oouple  and  a  wanderer,  who  drops  in  and  tells  about 
people  he  met  on  his  wanderings  and  of  the  romance  of  his 
early  life.  He  recalls  '^The  Tramp  "  in  Synge's  hi  the 
Shadow  of  the  Glen  ,  in  that  he  has  a  grah  for  "  poetry 
talk."  Published  in  Christmas  Number  of  Irish  Indepen- 
dent, December  2,  1911. 

^^=ScoTT  (Miss  Molly  F.).    Charity.    A  Play  in  1  Act. 

Scene  :  A  farm  house.  Tlie  central  idea  is  that  of  a 
peasant  family  who  have  slaved  to  the  bone  to  put  a  son 
ia  the  church,  and  discovers  after  his  death  that  his  money, 
which  might  have  set  them  on  their  feet,  has  been  willed 


318  GUIDE  TO  BOOKS   ON  IRELAND. 

to  "  charity."  Cast  :  5  males  and  4  females.  First  pro- 
duced at  Grand  Opera  House,  Belfast,  by  the  Ulster  Lite- 
rary Theatre,  on  December  4,  1911.  The  author  is  a 
native  of  Waterford  and  well  known  in  musical  and 
dramatic  circles. 

^•Taul  (William).    The  Jenybuilders.  A2'-ActPlay. 

It  is  a  realistic  picture  of  a  shop  girl's  fear  of  poverty  and 
dulness,  and  her  desire  of  gaiety  and  leisure  driving  her 
into  a  loveless  marriage  which  ends  tragically.  The  scene 
opens  in  "Miss  Begg's  First  Floor  Front."  Cast;  5 
males  and  5  females.  First  played  at  Grand  Opera  House, 
Belfast,  bv  the  Ulster  Literary  Theatre,  on  Tuesdav,  Dec.  5, 
1911. 

'•Neil  (J.  Crawford).  On  the  Telograpli  Pole.    A  short 
Sketch. 

The  writer  of  this  little  piece  shows  us  two  men  working 
on  a  pole  above  the  housetops  and  commenting  on  what  is 
going  on  in  the  street  below  :  A  poet  in  an  attic  and  a 
servant  girl  from  a  top  window  join  in  the  conversa- 
tion. The  Theatre  of  Ireland  is  likely  to  produce  it  shortly. 
Neil  revised  The  ^y^c1olv  Devipsey's  Funeral  for  stage 
representation  at  the  Theatre  of  Ireland,  December,  1911. 

''^La  Brandt  (Joseph).       Through  Death  Valley;  or. 
The  Mormon  Peril.     A  Melodrama  in  4  Acts. 

An  American  drama  produced  in  London  for  the  first  time 
at  The  Shakespeare,  Clapham,  on  December  11,  1911.  The 
scene  is  laid  at  Utah,  and  the  chief  villain  is  a  Mormon 
cider,  who,  among  other  deeds  of  dreadful  note,  performs 
or  procures  several  murders,  a  good  deal  of  mine-robbing, 
a  cruel  case  of  heiress  abduction,  and  the  attempted  anni- 
hilation of  the  hero  by  having  him  bound  to  a  big  tree  with 
a  rattlesnake  fastened  near  his  ear.  The  villain  also,  and 
under  cover  of  a  flag  of  truce,  seeks  to  slay  all  opposers  in 
one  batch,  but  in  this,  as  in  other  attempts,  he  is  foiled 
by  the  hero,  and  virtue  is  triumphant  in  the  end.  There 
is  a  comic  Irish  character,  named  Pat  Cahill,  in  the  cast, 
which  comprises  of  12  males  and  4  females.  This  drama 
is  well  known  in  U.S.A. 

Pearse  0>\.  B.\    The  Good  People.    A  Comeclv  in  1 
Act. 

First  played  by  the  Leinster  Stage  Society  at  the  Abbey 
on  Tuesday,  December  26,  1911.     It  deals,' as  its  title  sug- 


IRISH  PLAYS. 


319 


gests,  with  Irish  fairy  lore.  The  author  calls  it  ^'  A  plea 
for  ail  ancient  people."  Cast  :  1  male  and  3  females.  The 
scene  is  laid  in  a  cottage  in  a  fishing  village  near  Dublin. 
Mary  Fitzgerald  played  well  as  Honor,  an  old  country 
woman. 

Pat  Among  the  Fairies;  or,  The  Crock  of  Gold.  An 
Extravaganza. 

Played  at  Rotunda,  Dublin,  during  Christmas  w^eek,  1911. 
Mrs.  Glenville  in  the  role  of  Molly,  and  Herbert  Glenville 
as  Pat.  How  Pat  finds  himself  among  leprecauns,  fairies, 
gnomes,  etc.,  and  the  dialogue  which  ensues  makes  excel- 
lent fun. 

Patterson  (W.  M.).,  M.R.I. A,    St.  Patrick's  Life.  A 
Pageant. 

The  pageant  was  illustrative  of  incidents  in  the  life  of  the 
saint.  It  took  place  at  Ulster  Hall,  Belfast,  early  in 
January,  1912.  The  central  scone  was  that  in  which  the 
saint  appeared  at  the  Court  of  Tara.  Produced  under  the 
direction  of  Messrs.  Morrow.  This  pageant  recalls  the  fact 
that  the  earliest  attempt  at  drama  in  the  Irish  language 
dealt  with  the  preaching  of  Patrick  at  Tara,  as  shown  in  a 
play  by  the  late  Father  O'Growney,  which  was  staged  at 
Letterkenny  Aonach  in  November,  1898. 


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ADDENDA. 

Chiefly  a  few  pla3'S  published  in  U.S.x\.,  the  dates  of  which 
have  not  been  ascertained. 

Carleton  (John  L.).       More  Sinned  Against  Than 
Sinning.    Irish  Drama  in  a  Prologue  and  3  Acts. 

An  interesting  drama,  interspersed  with  much  humour. 
Plays  one  hour  and  three-quarters.  Scenes — a  reception 
room,  a  prison  cell,  and  two  landscapes.  Eleven  male 
characters.  (Published  in  America  by  the  Dramatic  Pub- 
lishing Company,  Chicago,  U.S.x^.). 

  Cooni-na-Goppel.     Drama  in  5  Acts. 

A  strong,  patriotic  Irish  play,  full  of  action  and  excitement 
of  the  conventional  kind.  Plays  about  2  hours  and  a-half. 
Four  interior  scenes  and  one  exterior.  Fourteen  male 
characters.    (Published  in  America,  1911.) 

Irishman's  Manoeuvre.     Comedy  in  2  Acts.  (Pub- 
lished by  S.  French,  Ltd.). 

Davidson  (Anthony).   The  Fair  Hibernian.  Tragedy. 

In  the  Days  of  the  Union.    Play.     (Published  anon)^- 
mously  a  few  j^ears  ago). 

It  deals  with  the  selling  of  the  Irish  Parliament. 

Burke,  Jun.  (James).      Shannon  Boys.  Romantic 
Irish  Drama  in  3  Acts. 

A  strong  play,  with  striking  characterisation,  and  affords 
opportunity  for  the  introduction  of  Irish  melodies,  etc. 
Ten  male  and  four  female  characters.  Plays  two  hours. 
Time,  present  day.    (Published  in  America.) 

Sedgwick  (John  L.).    Molly  Moriarty.    Irish  Musical 
Sketch  in  1  Act. 

A  pretty  litfle  piece,  with  pleasing  music.  Plays  ten 
minutes.  Peasant  costume.  One  male  and  one  female. 
(Published  in  America.) 


IRISH  PLAYS. 


321 


Hamilton  (C.  J.).      Four-Leaved  Shamrock.  Irish 
Comedy  in  3  Acts. 

A  bright,  entertaining  comedy.  CharacterSj  three  male 
and  four  female.  Time  of  performance,  one  hour  and 
a-half.    Three  interior  scenes.    (Published  in  America.) 

Rickey  (Sam)  and  Barney  (Master).     Rehearsed;  or, 
Barry's  Old  ]\ran.     Irish  Farce  in  2  Scenes. 

An  amusing  piece,  showing  the  mishaps  of  a  couple  of 
country  folk  who  made  an  appearance  during  the  rehearsal. 
Costumes,  modern  and  theatrical;  four  male  and  two  female 
characters.  Time,  twenty  minutes.  (Published  in 
America.) 

Wilton  (M.  J.).    ]\rickey  Free.    Original  Irish  Sketcli 
in  1  Scene. 

A  lively,  taking  piece,  with  five  characters,  aud  a  plain 
room  for  scene.  Takes  twenty  minutes  to  play.  (Pub- 
lished in  America.) 

Xewton  (Henry  I.)  and  Hoffman  (A,  S.).  Timothy 
Ryan's  Return. 

Comedy  sketch  for  two  male  characters.  Can  be  played 
in  any  scene.  A  good  piece  for  two  Irish  comedians. 
(Published  in  America.) 

ArACARTHY  fHarry).     Barney's  Courtship:  or.  Mollie 
Dear.     Alusical  Interlude  in  1  Act. 

A  bright,  clever  little  piece  for  one  male  and  one  female 
character:  peasant  costume.  Time,  thirty  minutes.  (Pub- 
lished in  America.) 

Cunningham  (Dr.  P.  T.).     R-obert  Emmet.     Play  in 
5  Acts. 

Produced  at  the  Olympic,  St.  Louis,  U.S.A.  The  play 
opeus  in  Paris,  where  members  of  the  Ignited  Irishmen 
plead  with  Napoleon  and  Talleyrand  for  the  succour  of 
Ireland:  Act  2  introduces  IMichael  Dwyer,  the  Wicklow 
hero,  and  Malachy  Duggan,  the  informer;  the  3rd,  the 


322 


GUIDE  TO   BOOKS   ON  IRELAND. 


home  of  Anne  Devlin,  the  heroine,  who  refused  to  betray 
Emmet;  the  4th,  Emmet's  last  interview  with  Sarah 
Curran,  his  betrayal,  arrest,  and  trial,  and  the  speech 
from  the  dock;  Act  5th,  Kilmainham  Jail,  the  execution 
and  apothesis  of  Emmet. 

O'BoYLAN  (B.  M.).  The  Rebels;  or,  Tiie  Irish  Insur- 
gent Chiefs  of  1803.  An  Historical  Drama  in  6 
Acts,  with  Robert  Emmet,  Michael  Dwyer,  etc., 
in  the  Dramatis  PersonaB."  12  male  and  4 
female  characters.  (The  Salesian  Publishing  Co., 
Newark,  Ohio). 

The  author,  in  his  preface,  writes: — "The  drama  was 
written  with  the  view  to  putting  a  true  and  clean  picture 
of  Irish  Hfe  on  the  stage.  I  have  always  held  in  abhorrence 
the  thing  known  as  the  stage  Irishman,  and  I  feel  confident 
that  this  play  will  be  received  with  applause  by  those  who 
offer  no  excuse  for,  but  rejoice  in  being  sprung  from,  the 
Irish  race." 

From  the  Catalogue  of  P.  J.  Kenedy  &  Co.,  New  York. 

 Tim  Carthy's  Trial ;  or.  Whistling  at  Landlords. 

3  Acts.    20  characters.  $.16. 

 The  Green  Shores  of  Erin.    Musical  Sketch  in  1 

Short  Act.    Cast :  1  male  and  1  female.  $.26. 

 Princess  of  ACeath.  A  Costume  Play.  12  char- 
acters. 

O'Neal  the  Great.  Drama  in  3  Acts.  (Published  by 
S.  French,  Ltd.). 

^•'Clarke  (Joseph  I.  C).  Eobert  Emmet.  A  Tragedy 
of  Irish  History. 

Clarke  was  born  in  Kingstown,  Dublin,  July  31,  1846.  In 
1868  he  went  to  America,  where  he  had  a  distinguished 
career  as  a  journalist.  On  March  17,  1898,  The  Sun,  New 
York,  published  a  poem  of  his,  entitled  "  The  Fighting 
Race,"  that  has  won  lasting  popularity  for  its  author  since. 


IRISH  PLAYS. 


323 


Lyster  (Frederick).    The  Irish  Christening.     An  ab- 
surdity in  1  Act  in  Prose.     London.  1875. 

My  Irish  Molly.    An  Irish  Musical  Play. 

Performed  at  the  halls  by  Mr.  and  Mrs.  Frank  Stuart's  Co. 
The  scene  is  laid  in  a  wild  country  spot  in  Ireland,  and  the 
life  of  the  village  and  the  feast  celebrations  all  tend  to 
make  the  piece  attractive  and  bright.  Fred.  L.  Sydney  as 
Dennis,  "  a  true  born  Irish  boy,'  and  Winifred  Stuart  as 
Molly,  were  the  life  of  the  play.  This  piece  has  been 
before  the  public  for  some  years. 

Royal  (Edwin  Milton).     The  Snare.     A  Drama  of 
sordid  life,  with  scene  laid  in  America.  (1912). 

The  chief  character  is  that  of  the  daughter  of  an  Irish 
saloon  keeper,  whose  worthless  husband  deserts  her  and  his 
three  children,  and  she  in  turn  picks  up  with  a  married 
man  and  becomes  his  mistress.  He  gets  into  trouble  with 
his  wife  and  plans  to  leave  the  saloon  keeper's  daughter. 
When  the  latter  gets  her  divorce  she  asks  the  man  to  marry 
her,  but  he  refuses — he  intends  going  off  with  another 
woman  when  he  is  free.  On  his  refusal  she  stabs  him  to 
death.  The  crime  is  fixed  up,  and  there  is  a  reconcilia- 
tion between  the  woman  and  her  divorced  husband.  Mar- 
garet Anglin,  the  American  actress,  who  was  cast  for  the 
role  of  the  adulterous  Irish  woman,  refused  to  play  the 
part,  and  severed  her  connection  with  Liebler  &  Co.  over 
it.  What  Abbey  actress  ever  refused  to  drag  Irish  woman- 
kind through  the  mire? 

McHuGii  (Martin  J.).     The  Half -Sir.     A  Play  in  B 
Acts. 

The  author  is  a  well-known  writer  of  short  stories  for  the 
periodical  press.  For  some  years  past  he  has  resided  in 
Clare,  and  has  written  many  stories  with  that  county  as 
background.     He  hopes  to  see  his  play  acted  soon. 

Grattan  (H.  P.).    (1808-1889).  The  Omadhaun.  An 
Irish  Drama. 

Played  at  the  old  Queen's  Theatre  in  Long  Acre,  London, 
in  1877,  with  Henrietta  Hodson  in  the  part  of  the  half- 


324 


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witted  boy,  which  gave  the  name  to  the  play.  Tliis  actress 
married  Henry  Labouchere,  the  editor  of  Truth,  who  died 
on  January  16,  1912.  He  ran  the  Queen's  the  time  she 
starred  there.  The  dramatist's  real  name  was  Plunkett. 
He  was  a  native  of  Dublin. 

GoRE-BooTii  (Eva).     Unseen  Kings.     A  Verse  Play, 
with  music  for  the  lyrics  by  Professor  ]\rax  ]\reyer. 

First  played  at  Abbey  by  the  Independent  Theatre  Com- 
pan}'  on  January  25,  1912. 

Martyn    (Echvard).     Grangecolman.     A  Domestic 
Drama  in  3  Acts. 

Its  import  is  tragic.  First  played  at  Abbey  by  the  Indepen- 
dent Theatre  Company  on  January  25,  1912.^ 


INDEXES. 


List  of  Indexes. 


I. — Index  to  Gleneral  Collections  and  Selections  (by  author 


and  title)    326 

II. — Index  to  Prose  Literature  (by  author's  name)        .  .        .  .  327 

III. — Index  to  Poetry  (by  author's  name)  .  .        .  .        .  .        .  .  332 

IV. — Index  to  Music  (by  author's  name)     .  .        .  .        .  .        . .  335 

IV. A — Supplement  to  Index  to  Music  .  .        .  .        .  .        .  .  341 

v.— Index  to  Plays  (by  title  of  play)    342 

VI. — Index  to  Plays  (by  author's  name)    .  .         .  .         .  .         .  .  359 

VII. — Index  to  Plays  (by  subject)     .  .        .  .        .  .        .  .        .  .  367 


INDEX  1.— GENERAL  COLLECTIONS  AND 
SELECTIONS. 


Cabinet  of  Irish  Literature  (ed. 
Mrs.  Hinkson)         .  .        .  .  2 

Casket    of   Irish    Pearls  (ed. 
gMacMahon)  3 

Dialect  Recitations  (ed.Dick).  .  3 

Dick  (Wm.  B.) — Irish  Dialect 
Recitations   .  .        .  .        .  .  3 

Ford  (Robert) — Popular  Irish 
Readings      .  .        . .        . .  4 

Gill  and  Sons — Irish  Reciter  4 

Humour  of  Ireland  (ed. 
O'Donoghue)  .  .         .  .  5 

Irish  Literature  (ed.  McCarthy)  1 

Jennings  (Rev.  J.  A.) — Read- 
ings from  Irisli  Authors    .  .  4 

KiRTON  (J.  W.)— The  Standard 
Irish  Reciter .  .         .  .         .  .  5 

McCarthy  (  Jusiin)  —  Irish 
Literature     . .        .  .        .  .  1 

MacMahon  (Thornton) — Cas- 
ket of  Irish  Pearls  .  .        .  .  3 

Murray  (J.  O'Kane) — Prose 
and  Poetry  of  Ireland      .  .  3 

O'Donoghue  D.  J.— The  Hu- 
mour of  Ireland      . .        . .  5 


O'Kelly  (J.  J.)— Gill's  Irish 
Reciter         .  .        .  .        .  .  4 

Pearson's  Irish  Reciter  and 
Reader         . .        . .        .  .  5 

Prose  and  Poetry  of  Ireland 
(ed.  O'Kane  Murray)        .  .  3 

Readings,  Popular    Irish  (ed. 

Ford)       ..         ..  4 

Irish   (ed.   Sullivan)  4 

from  Irish  Authors 
(ed.  Jennings)    .  .  4 

Reciter,  Irish  (ed.  O'Kelly)  ..  4 

„      The    Standard  Irish 

(ed.  Kirton)         .  .  5 

,,      and     Reader,  Irish 

(Pearson's)  .  .  5 

Sullivan  (A.  M.,  etc.) — Irish 
Readings      .  .        .  .        .  .  4 

Tynan  (Mrs.  Katharine  Ty- 
nan Hinkson) — Cabinet  of 
Irish  Literature       .  .        .  .  2 

Ward,  Lock,  and  Co.'s  Stan- 
dard rish  Reciter  (ed.  Kir- 
ton)  5 


INDEX  II.— PEOSE  LITERATURE. 


A. 

Abraham  (G.  W.)- 

♦Essays        .  .        .  .        . .  12 

A.  E.  {see  Russell). 
Allingham  (William). 

♦Varieties  in  Prose  .  .  . .  10 
Armstrong  (E.  J.). 

♦Essays  and  Sketches  . .  13 
Arnold  (Matthew). 

On    the    Study    of  Celtic 
Literature  .  .        .  .  36 

♦Irish  Essays  and  Others  . .  14 
Atkinson  (Sarah). 

Essays  . .        . .        . .  17 

B. 

Baker  (D.  E.). 

Biographia  Dramatica  . .  47 
Bickley  (Francis). 

J.  M.  Synge  and  the  Irish 
Dramatic  Movement      .  .  52 
Biographical  Dictionaries  45 
Borsa  (Mario). 

The  Enghsh  Stage  of  To-day  50 
Burke  (Edmund). 

Speeches       .  .        .  .        . .  26 

♦On  Irish  Affairs     .  .        .  .  14 

♦Collected  Works  . .  .  .  7 
Burke  (Rev.  Thomas,  O.P.). 

♦Lectures  and  Sermons  .  .  13 
BuRROWES  (Peter). 

Speeches       .  .        .  .        .  .  30 

Butler  (Lieut. -General  Sir 
William). 

The  Light  of  the  West      . .  22 


C. 

Cahill  (Rev.  D.  W.). 

♦Works         .  .        . .        . .  8 

Calcroft  (J.  W.). 

A  Defence  of  the  Stage  . .  48 
Campbell  (Joseph). 

Mearing  Stones       . .        .  .  58 
"  Chanel,"  i.e.,  A.  E.  Clery. 
Chetwood. 

General  History  of  Stage  .  .  46 
Clery    (Arthur    E.,  B.L., 
"Chanel"). 

The  Idea  of  a  Nation  . .  21 
Croker  (J.  W.). 

Familiar  Epistles  . .  . .  47 
CuLLEN  (Cardinal). 

♦Writings  .  .  . ,  . .  9 
CuRRAN  (John  Philpot). 

Speeches       .  .        .  .        . .  27 

Cusack  (M.  F.). 

The    Speeches    and  Public 
Letter  of  the  Liberator  . .  30 


D. 

Daunt  (W.  J.  O'Neill). 

♦Essays  on  Ireland  .  .  .  .  16 
Davis  (Thomas). 

♦Prose  Writings  of  .  .        .  .  11 

♦The  Voice  of  the  Nation  .  .  12 
D'Esterre-Keeling  (Elsa). 

♦In  Thoughtland  and  Dream- 
land .  .        . .        . .  15 

Dick  (Wm.  B.). 

Irish  Dialect  Recitations    . .  3 


328 


INDEX  TO  PROSE  LITERATURE. 


DoRAX  (Dr.  J.). 

Their  ^Majesties'  Servants  .  . 
Duffy  (Sir  Charles  Gavan). 

The  Revival  of  Irish  Litera- 
tm-e 

DuvAU  (Louis). 

Les  Poetes  de  Coiir  Irlandais 


E. 


W. 


"  Eglinton  (John),"  i.e., 
K.  Magee. 
Pebbles  from  a  Brook 
Bards  and  Saints 
Eloquence. 

The  Household  Book  of  Irish 
Eloquence 


49 

36 
46 


18 
19 


34 


Giles  (Henry). 

♦Lectures    and    Essays  on 
Irish  and  Other  Subjects .  . 
Gladstone  (W.  E.). 

Speeches 
GoDD.ARD  (Ethel). 

Dreams  for  Ireland 
Grattan  (Henry). 

Speeches 
Gregory  (Lady). 

Poets  and  Dreamers 

Ideals  in  Ireland 
GwYNN  (Stephen). 

Charlotte  Grace  O'Brien  and 
her  Writings 

To-day  and  To-morrow  in  I. 

H. 


Eahy  (F.  a.)  and  O'Donoghue 
(D.  J.). 

Ireland  in  London  .  .  .  .  40 
Falkiner  (C.  Litton). 

Essays  Relating  to  Ireland .  .  23 
FiNLAY  (J.). 

Irish  Eloquence       .  .        .  .  34 

Miscellanies  . .        .  .        .  .  51 

Flannery  (Thos.). 

For  the  Tongue  of  the  Gael .  .  18 
Flood  (Henry). 

Speeches       . .        . .        . .  26 

Flynn  (J.  Vv.). 

Random  Recollections,  etc.  40 

G. 


Gaskin  (J.  J.). 
Carlisle  (Earl  of), 
regal  Speeches 
dresses 
Genest  (Rev.  J.). 

The  English  Stage 
Gilbert  (Sir  J.). 
Hist  or  V  of  Dublin 


The  Vice- 
and  Ad- 


32 


49 


H ALPINE  (Charles  Graham). 

Baked  Meats  of  the  Funeral 
Hardy  (Philip  Dixon). 

Picnics    from    the  Dublin 
Penny  Journal 
Harris  (Walter). 

See  Sir  James  Ware,  Writers 
of  Ireland. 
Healy  (Most  Rev.  Dr.). 
Papers  and  Addresses 
Irish  Essays  .  . 
Herbison  (David). 

See   McMeekin,   ed.    of  his 
Works. 
Hitchcock  (Robert). 

Historical  View  of  Irisli  Stage 
Houston   (W.   M.   C).  See 

Desmond  Mountjoy. 
Howard  (Alfred). 

Beauties  of  Grattan,  Sheri- 
dan, Burke 
Howe  (P.  P.). 

The  Repertory  Theatre 
Hughes  (Rev.  S.  C). 

Pre-Victorian     Drama  in 
Dublin   


59 


30 


45 

21 
22 


47 


35 


51 


49 


INDEX  TO  PROSE  LITERATURE. 


329 


Hull  (Eleanor). 

A  Text-book  of  Irish  Litera- 
ture .  .        .  .        .  .  38 

Hyde  (Douglas). 

Story  of  Early  Gaelic  Lit. .  .  38 
Literary  History  of  Ireland .  .  38 
On  the  Necessity  for  De-An- 
glicising Ireland  .  .         .  .  36 


Johnson  (Lionel). 

Essays  .  .        .  .        .  .  20 

Jones  (F.  E.). 

Thoughts  on  Familiar  Epis- 
tles  47 

Joyce  (P.  W.) 

The  Wonders  of  1  24 

JUBAINVILLE  (H.  D'ArBOLS  DE). 

Cours  de  Litter ature  Celtique 
etc  3() 

K. 

Kelly  (J.   J.)  and  O'Byrne 

Irish  Varieties  .  .  .  .  59 
Kettle  (Prof.  T.  M.). 

The  Day's  Burden  .  .  .  .  24 
Kilkenny  Theatricals.  48 
KiRKMAN  (C.  J.). 

Charles  Macklin  .  .  .  .  52 
Krans  (H.  S.). 

W.  B.  Yeats  and  the  Irish 
Literarv  Revival  .  .         .  .  44 


Lalor  (James  Fintan). 

Writings  of  . .        .  .        .  .  17 

Lecky  (W.  E.  H.). 

Historical      and  Political 
Essays      .  .        .  .        .  .  21 

Levey  (R.  M.)  and  O'Rourke. 

Theatre  Royal        . .        .  .  48 
Lynd  (Robert). 
^  Irish  and  English  Portraits 

I  and  Impressions  .  .        .  .  21 


M. 

Mac. 

Character  Sketches  .  .  23 

McCarthy  (D.  F.). 

The  Poets  and  Dramatists 
of  Ireland  .  .        .  .        .  .  42 

McGee  (T.  D'Arcy). 

Irish  Writers  of  the  Seven- 
teenth Centurj'    .  .        .  .  43 
McLean  (Magnus). 

The  Literature  of  the  Celts.  .  39 
"  MacLeod  (Fiona),"  i.e.,  Wil- 
liam Sharp. 

Collected  Works      .  .        .  .  10 

^Collected  Works,  ^^  iv.     .  .  56 

The  Winged  Destiny  .  .  41 
MacMahon  (T.). 

The  Casket  of  Irish  Pearls  .  .  3 
McMeekin  (Rev.  David). 

*  Works  of  David  Her  bison .  .  8 
MacNeill  (Dr.  Nigel). 

The  Literature  of  the  High- 
landers     .  .        .  .        .  .  39 

Magee    (William   K.).  See 

"  Eglinton  (John)." 
Maginn  (William). 

*Miscellanies .  .        . .        .  .  9 

Mair  (G.  H.). 

English  Literature  .  .  .  .  51 
Mangan  (James  Clarance). 

*The  Prose  Works  of         .  .  15 

*Essays        .  .        .  .        .  .  14 

Meagher  (T.  F.). 

Speeches       . .        . .        . .  31 

MoLLOY  (J.  Fitzgerald). 

The  Romance  of  the  Irish 
Stage         . .         .  .         .  .  50 

Montague  (C.  E.). 

Dramatic  Values  .  .  .  .  51 
Moore  (George). 

Ave    . .        .  .        . .  ..51 

MoRAN  (Cardinal). 

*  Occasional  Papers  .  .        .  . 


INDEX  TO  PROSE  LITERATURE. 


"  MouNTJOY  (Desmond),"  i.e.. 

W.  M.  Chapman  Hous- 

ton. 

A  Creel  of  Peat 

25 

Murray  (John  O'Kane). 

The   Prose   and   Poetry  of 

Ireland 

3 

N. 

NuTT  (Alfred). 

Celtic    and   Mediaeval  Ro- 

mance, etc. 

40 

O. 

O  JjRIEN  (  vv  ILLIAM). 

*Irish  Ideas  .  . 

1  7 

O'CoNNELL  (Daniel). 

Speeches 

OCk 

O  DONNELL  \r  .  M.). 

The  Stage  Irishman 

oU 

U  DONOGHUE  (D.  J.). 

ihe  Poets  oi  Ireland 

A  O 

The  Humour  of  Ireland 

O'Grady  (Standish). 

Early  Bardic  Literature  of 

Ireland 

oO 

O'Hagan  (Lord). 

ine  Poetry  oi  bir  bamuel 

Ferguson   .  . 

Speeches 

oZ 

*Occasional  Papers  and  Ad- 

dresses 

lo 

O'Leary  (John). 

What      Irishmen  Should 

Read  ;     What  Irishmen 

fenoula.  J^eel 

DO 

O  JNeill  (James  J.). 

Irish  Theatrical  History 

OU 

O'Reilly  (Edward). 

Irish  Writers 

O'Reilly  (John  Boyle). 

Speeches 

33 

O'Sullivan's  (Rev.  Saml.). 

*  Re  mains 

7 

P. 

Parry  (E.  A.). 

Charles  MackUn  .  .  .  .  52 
Parnell  (Charles  Stewart). 

Speeches  {not  published) 
Pascoe  (C.  E.). 

Our  Actors  and  Actresses  .  .  52 
Phelan's  (Rev.  Dr.  W.). 

♦Remains      .  .        . .        . .  7 

Phillips  (Charles). 

Speeches    in    Ireland  and 
England  31 

Specimens  of  Irish  Eloquence  34 
Plunket  (The  Hon.  David). 

The    Life,     Letters,  and 
Speeches  of  Lord  Plunket  28 
Plunket  (Lord). 

Speeches       . .        . .        . .  28 

Plunkett  (Horace). 

Noblesse  Oblige       . .        . .  58 

R. 

Redmond  (John  E.,  M.P.). 
Historical  and  Political  Ad- 
dresses, 1883-1897         . .  33 

RiDGWAY  (W.). 

The  Date  of  the  First  Shaping 
of  the  Cuchulain  Saga    . .  40 

ROISTE  (LlAM  de). 

A  Message  to  the  Man  .  .  58 
RooNEY  (William). 

The  Prose  Works  of  . .  24 

Russell  (George  W.),"A.  E." 

Some  Irish  Essays  .  .  .  .  20 
Ryan  (W.  P.). 

The  Irish  Literary  Revival.  .  43 

S. 

*Sharp  (William).  "Fiona 

MacLeod." 
Senior  (William  Nassan). 
*  Journals,  Conversations  and 
Essays       .  .        .  .        .  .  13 


INDEX  TO  PROSE  LITERATURE. 


331 


Shaw  (Judge). 

Occasional  Papers  .  .  . .  25 
Shaw  (George  Bernard). 

John  Bull's  Other  Island  . .  58 
Shea  (P.). 

Vindication  of  J.  Sheridan  46 
Sheehan  (Canon  P.  A.). 

The  Intellectuals     .  .        .  .  57 

Early  Essays  and  Lectures  20 
Sheil  (Richard  Lalor). 

Speeches       .  .        .  .        . .  31 

♦Sketches,  Legal  and  Poli- 
tical  12 

Sheridan  (Richard  Brinsley). 

♦Speeches     .  .        .  .        .  .  27 

Works    9 

Sheridan  (Thomas). 

Mr.  S.'s  Address  to  the  Town  47 
SiGERSON  (George). 

On  Irish  Literature  .  .  36 

SiLLARD  (Robert  M.). 

Barry  Sullivan  .  .  .  .  52 
Smith  (John). 

Irish  Diamonds  .  .  .  .  57 
Squire  (Charles). 

Mythology  of  British  Islands  38 
Stage,  The.        .  .         .  .  40  sq. 

Stevenson  (John). 

Pat  McCarty,  Farmer  of  An- 
trim .  .        .  .        . .  57 

Sullivan  (T.D.,   A.   M.  and 
B.  D.). 

Speeches  from  tlie  Dock  .  .  35 
Sullivan  (A.  M.). 

Speeches  and  Addresses  .  .  33 
Synge  (J.  M.). 

*Works   10 


T. 

Tanner  (Thomas). 

Bibliotheca  Brittanico-Hi- 
bernica      .  .         .  .         .  .  45 

TJieatre  .  .         .  .         .  .        46  sqq. 


U. 

UssHER  (James,  D.D.)- 

*The  Whole  Works  . .  8 

V 

Victor. 

A  History  of  the  Irish  Stage 

(1730-61)   49 

Victory  (Louis  H.). 

Essays  for  Ireland  . .  . .  20 
*  Voice  of  the  Nation,  The     . .  12 

W 

Walker  (Joseph  Cooper). 
Historical  Memoirs  of  the 
Irish    Bards    (see  under 
Music) 

Essay  on  the  Origin  of  Ro- 
mantic Fabling  in  Ireland  40 
Wallack  (Lester). 

Memoirs  of  Fifty  Years  .  .  50 
Ware  (Sir  James). 

Writers  of  Ireland  .  .  .  .  45 
Webb  (Alfred). 

Thoughts  in  Retirement  .  .  57 
Whiteside  (Chief  Justice). 

Essays  and  Lectures  .  .  8 

Wilson  (C.  H.). 

The   Beauties   of  Edmund 

Burke   26 

Wilson  (Mrs.  C.  Baron). 

Our  Actresses  .  .        .  .  51 

Winter  (W.). 

Life  of  John  Brougham     .  .  52 

Y. 


Yeats  (W.  B.). 


John  M.  Synge  and  the  Ire- 

land of  his  Time  . . 

44 

A  Book  of  Images  .  . 

56 

*Collected  Works 

10 

Discoveries    .  . 

19 

Ideas  of  Good  and  Evil 

19 

INDEX  111.— POETEY. 


A. 


A.  E.  {see  G.  W.  Russell)    .  . 

Allingham  (William)          .  .  91 

Archer  (Bro.  William)       .  .  73 

Armstrong  (G.  F.  Savage)  .  .  92 

B. 

Barlow  (Jane)          .  .        .  .  94 

Barry  (M.  J.)   62 

Barter  (J.)     . .        .  .        . .  66 

Boyd  (Thomas)         . .        . .  105 

Brooke  (Charlotte)           .  .  60 
Brooke  (Stopford  A.)  ..70 

Brown  (Mary  J. )      . .        . .  71 

Byrne   (W.   A.).    "  William 

Dara"    109 

C. 

Callanan  (Jeremiah  Joseph)  95 

Carbery  (Ethna)      .  .        .  .  96 

Casey  (John  Keegan).  '"Leo"  79 
Chesson  (Mrs.  ) 

Clarke  (Joseph  I.  C.)         .  .  100 

Collins  (Charles  McCarthy)  66 

Collins  (William)     ,  .        .  .  100 

CoLUM  (Padraic)       .  .        .  .  104 

Connolly  (Daniel)   .  .        . .  67 

Cooke  (John)  .  .        .  .        . .  72 

CoRRY  (T.  C.  S.)    ■    .  .        . .  64 

Cousins  (James  H.  )   .  .        . .  89 

Cox  (Eleanor  R.)     .  .        .  .  110 

Croker  (Thomas  Crofton)  .  .  61 

cuireadoir  "         .  .        .  .  109 


I  Davis  (Francis)        .  .  .  .  80 

1  Davis  (Thomas)         .  .  .  .  77 

!  De  Vere  (Sir  Aubrey)  .  .  84 

De  Vere  (Aubrey  T.)  81,  84, 


85,87 

Drummond  (Rev.  W.  Hamil- 

ton) .  . 

.  .  63 

Duffy  (Charles  Gavan) 

.  .  62 

E. 

Ellis  (Hercules) 

.  .  63 

Emerald  Wreath,  The  .  . 

.  .  66 

"  Eva  "  {see  Kelly).  . 

Eyes  of  Youth  .  . 

..  72 

F. 

Fahy  (F.  a.)    .  . 

.  .  83 

Fawcett  (W.  j.  ) 

..  110 

Ferguson  (Sir  Samuel) 

.  .  86 

Flower  (Robin) 

..  liO 

Furlong  (Alice) 

.  .  108 

G. 


Gall  way  (Thomas)    . . 

.  .  93 

Garvey  (Maura) 

.  110 

Gilbert  (Lady) 

.  107 

Gill  and  Sons — Song-hooks 

.  74 

Gore-Booth  (Eva) 

.  90 

Graves  (Alfred  Perceval) 

65,  96 

Griffin  (Gerald) 

.  82 

Gwynn  (Stephen) 

.  88 

INDEX   TO  POETRV. 


.333 


H. 

Hardiman  (James) 

60 

Hayes  (Edward) 

64 

HiNKSON  (Mrs.),  {see  Katha- 

rine Tynan.) 

HiNKSON  (H.  A.) 

68 

Hopper  (Norah) 

103 

HuTTON  (Mary  A.) 

84 

Hyde  (Douglas) 

71 

I. 

T  n 

Irwin  (Thomas  Caulfield) 

J. 

Johnson  (Lionel) 

83 

Johnston  (James  Nicholl)  . . 

100 

Johnston  (William)  . . 

72 

Joyce  (Kobert  Dwyer)        81,  88 

Joyce  (James  A.) 

K. 

Kavanagh  (Rose) 

109 

Keegan  (John) 

78 

Kelly  (Eleanor  F.)  .  . 

110 

Kelly  (R.  J.)  

71 

Kelly  (Mary).    "  Eva,"  Mrs. 

Kevin  Izod  O'Doherty) 

77 

Kenedy  and  Co.'s  Irish  Song- 

books  .  .        .  .        .  .         67,  74 

Keohler  (Thomas)    .  . 

106 

L. 

Lageniensis  {see  O'Hanlon). 

Langbridge  (Canon).  . 

109 

Lanyon  (Helen) 

94  1 

Larminie  (William)  .  . 

87 

Lawless  (Emily) 

81 

Le  Fanu  (Sheridan) 

82  1 

"  Leo  "  {see  Casey)    .  . 

97  1 

Leslie  (Shane) 

1 

Longfellow^  (Henry  W.  ) 

65 

Lover  (Samuel)        . .         64, 98 

M. 


M'Call  (P.  J.)  . .        . .  95 

McCarthy  (Denis  Florence  )62,  78 
McDonnell  (Randal)  .  .  109 
McGee  (T.  Darcy)  .  .  .  .  78 
McIlwaine  (Rev.  W.)  65 
McCarthy  (D.  A.).  .  .  .  .  110 
MacCathmaoil  (Seosamh)  .  .  104 
MacDermott  (Martin)  .  .  69 
MacDonagh  (Thomas)  . .  97 
MacManus  (Anna)  . .  .  .  96 
MacManus  (Seumas)  .  .  .  .  93 
Madden  (Dr.  R.  R.)  . .  .  .  67 
"  Maglone  (Barney)  '  .  .  80 
Mahony  (Francis  Sylvester  98 
Mangan  (James  Clarence)  ()3,  82 
Meyer  (Kuno)  .  .        .  .  71 

Milligan  (Alice)  .  .  .  .  90 
Mitchell  (Susan)  .  .  .  .  99 
Montgomery  (H.  R.  ) .  .  .  .  (32 
Moore  (Thomas)  . .  76, 98 
"  Mountjoy  (Desmond)  "  .  .  110 
Mulholland  (Rosa)  . .        . .  107 

N. 

Needham  (M.  p.)       .  .        .  .  93 
O. 

O'DoNNELL  (Frank  Hugh)  . .  109 
O'Donnell  (John  Francis).  .  80 
O'Hanlon  (Canon  John),  '93 
O'HiGGiNS  (Brian)  . .  . .  95 
O'Leary  (Ellen)  . .  . .  79 
"  O'Neill  "  ("  Moira  ")  . .  93 
O'Neill  (William)  ..  ..81 
Orange  Songs  and  Poems  .  .  73 
O'Reilly  (John  Boyle)  68,  99 
"  O'SuLLiVAN  (Seumas)  "  . .  103 
O'SuLLiVAN  (Denis)  . .        . .  65 


334 


INDEX   TO  POETRY. 


P. 

Stephens  (James) 

105 

Stott  (Thomas) 

60 

Pan- Celtic  Society 

Stritch  (A.  R.)         .  . 

b7 

Paul  (W.  J.)  

69 

Sullivan  (T.  D.) 

66,  72  79 

Probyx  (May)  . . 

109 

Synge  (J.  M.)  .  . 

.  .  105 

"  Prout  (Father)."  {See  Ma- 

hony). 

T. 

Thomson  (J.  G.) 

110 

R. 

TODHUNTER  (JoHN) 

85,  87 

Trench  (Herbert) 

90 

ROLLESTON  (T.  W.)      .  . 

84 

Tynan  (Katharine)  .  . 

68,  106 

RoLLESTON  (T.  W.)  ed. 

67 

RooNEY  (William) 

96 

Russell  (Rev.  M.,  S.J.) 

108 

V. 

Russell  (G.W.),  "A.  E."     70,  102 

RUTTLEDGE  (A.  K.  )  .. 

94 

Varian  (Ralph) 

.  .  64 

W. 

S. 

Walsh  (Edward) 

62,  63 

Sargant  (Alice) 

88 

Weekes  (Charles) 

..  105 

Savage  (John) 

99 

Welsh  (Charles) 

..  70 

Sharp  (Eliza  and  William).  . 

69 

Wilde  (Lady),  "  Speranza  "  78 

Sheehan  (Canon) 

88 

Williams  (Alfred  M.) 

.  .  65 

Shorsa  (May)  .  . 

79 

Williams  (Richard  Dalton)  77 

SiGERSON  (Dora) 

103 

Wilson  (R.  A. ).    (*S'ee  Maglone) 

SiGERSON  (George)    . .         64,  70 

"Slieve  Margy"  (see  O'Neill) 

Sparling  (H.  Halliday) 

66 

Y. 

"  Speranza  "(see  Wilde.) 

Spirit  of  the  Nation 

61 

Yeats  (W.  B.) 

68,  101 

Stacpoole  (H.  de  Vere) 

109 

Young  (Ella) 

.  .  105 

Starke Y  (James).    [See  Seu- 

Young  (Robert) 

.  .  73 

MAS  0' Sullivan). 

Young  (Rev.  Dr.) 

..  60 

♦  INDEX  IV.— MUSIC. 


A. 

AlRD. 

Selection  of  Airs  .  .  113,  138 
Alexander  (I.). 

Flowers  of  the  Emerald  Isle 
(London  and  Dublin)     .  .  120 
Apollo  Club  Leaflets    ,  .        .  .  152 
Armstrong  (Robert  Bruce). 
Musical  Instruments  (2  vols.)  155, 

156 

B. 

Bayley  and  Ferguson's  Cata- 
logues .  .        . .         . .  150 

Beethoven. 

Irish  Melodies.    Irish  Sym- 
phony (the  7th)   .  .      130,  141 
Berlioz  (Hector)      . .        .  .  142 

BOCHSA  (R.  N.  C). 

Reliques  Irlandaises  (3  books)  145 
Brady  (Sir  F.). 

Songs  . .        . .        . .  149 

Browne  and  Nolan  (Messrs.), 
publish — 
"  Choruses  for  Choral  Classes 
and  School  Choirs  "        .  .  150 
Brysson  (J.). 

Fifty  Favourite  Irish  Airs.  .  114 
Bunting  (Edward). 

First  Collection,  1796        ..  114 
Second  Collection    .  .         .  .  114 

Third    Collection  —  Ancient 
Music  of  Ireland  .  .        .  .  Il4 

The  Ancient  Music  of  Ire- 
land (Hodges,  Figgis)     ..  115 
Butler  (O'Brien). 

Muirgeis — Irish  Opera       . .  145 
♦See  also  Supp 


C. 

Callcott  (W.  Hutchins). 

Irish  Melodies  .  .  . .  123 
Cameron  and  Ferguson, 

Musical  Publications  .  .  149 

Carolan's  Collection  . .  113 
Chappell  and  Co.'s  Catalogue.  .  150 
Clandillon. 

y&n  toriTTOtit)  .  .        .  .        .  .  136 

Clinton. 

1.  Two  Hundred  Irish  Melodies 

for  the  Flute        .  .        .  .  120 

2.  Gems  of  Ireland  .  .  .  .  120 
CoLLisoN  (W.  A.  Houston). 

A  Kerry  Courting  .  .  .  .  145 
The  Game  of  Chess  (Cantata)  144 
Samhain  (Cantata)  .  .        .  .  144 

CONRAN  (M.). 

National  Music  of  Ireland  .  .  123 
Cooke  (B.). 

Selection  of  Irish  Airs       .  .  114 
Counsel  (Edward). 

Melodies  of  Erin      .  .        .  .  126 

Cramer,  Wood  and  Co.'s  Musi- 
cal Publications  .  .  149 
Crawford  (IVIrs.  Julia). 

Irish  Songs  Set  to  Music  by 
F.  Nicholls  Crouch         .  .  120 
Crosby  (B.). 

Irish  Musical  Repository    .  .  117 
Crotch  (Wm.). 

Specimens  of  Various  Styles 
of  Music    .  .        .  .        .  .  116 

Crouch  (F.  W.  Nicholls),  and 
see  Crawford. 
Songs  of  Erin  .  .        .  .  121 

lent  on  p.  341. 


336 


INDEX  TO  MUSIC. 


CHOWEST  (F.  J.). 

The  Music  Story  Series 
Curwen's    Catalogue  .  . 


152. 


D. 

Davidson. 

Irish  Melodies  Musical  Mir- 
acles . . 

E. 

Eg  AN  (Charles). 

A    Selection    of  National 
Lyrics 
Erin  Song-hooh 
EsposiTO  (Michele). 

Two  Melodies  for  Violin  and 
Piano 

Roseen    Dhu    (Irish  Vocal 

Suite)   

Deirdre  (Cantata)    .  . 

The  Postboy  (Operetta)     .  . 

F. 

Field  (John). 

Irish  Air,  with  Variations  .  . 
Fitzgerald  (see  Guernsey). 

FiTZMAURICE  (H.). 

New  Collection  of  Irish  Airs 
FiTzsiMONS  (Edward). 

A  Selection  of  Original  jNIelo- 
dies  of  Erin 
Flood  (W.  Grattan). 

Moore's  Irish  Melodies  (new 

ed.)  

The   Spirit   of   the  Nation 

(new  ed.)  .  . 
History  of  Irish  Music 
Story  of  the  Bagpipe 
Story  of  the  Harp  . , 

FORDE. 

300  National  Melodies 
Encyclopaedia  of  Melody  (6 
vols. ) 

*See  also 


156 
151 
153 


125 


120 
136 


144 

144 
144 
144 


142 


117 


110  i 


134 

122 
154 
156 
156 

122 

123 


154 
132 
146 


157 


Fox.  (Aynsley). 

Songs 
Fox  (C.  Milligan). 

Annals  of  the  Irish  Harpers 

Songs  of  the  Irish  Harpers .  . 

Four  Irish  Songs 
Eraser  (A.  D.). 

Some  Reminiscences  and  the 
Bagpipe 
Eraser  (Capt.  O.  M.  Eraser). 

Collection  of  Highland  Airs 
and  Melodies       . .      138,  140 


G. 


Gill  and  Co.^s  Song-hoohs        .  .  1  50 

Glover  (J.  W.). 

Moore's  Irish  Melodies 
Ten  Irish  Songs      .  .        . .  128 
St.  Patrick  at  Tar  a  (cantata)  142 
Erin's  Matin  Song  (cantata) 

Goodman  (P.). 

The  Irish  Minstrel  (3  parts) . .  127 
Irish    Choruses    for  Men's 
Voices   131 

Grattan-Flood  (see  Flood). 

Graves    (Alfred  Percival) 
and     Stanford  (Sir 
Charles  Villiers). 
Songs  of  Old  Ireland         .  .  127 
Songs  of  Erin  .  .        .  .   1 20 

Graves  and  Wood  (Charles). 
Irish  Folk  Songs     . .        .  .  127 

Graves  (Alfred  Percival). 

The  Irish  Song-book         .  .  127 

Greaven  (Bev.  a.). 

Cycle  of  Irish  Songs  . .  145 

Grove. 

Dictionary  of  Music  and  Mu- 
sicians (ed.  M  ait  land)    .  .  154 
Guernsey  (Wellington). 
Old   Songs  of   Old  Ireland 
(words  by  Fitzgerald)     . .  120 


Supplement  on  p.  341 


INDEX  TO  A[USTC.''^' 


337 


H. 

Haakman  (J.  Jacques). 

Fantasia  on  Irish  Airs  .  .  143 
Handel. 

The  Poor  Irish  Lad  .  .  145 

Hardebeck  (Carl  G.). 

Ceata  Ceoii  136 

Red  Hand  of  Ulster  .  .  143 

Hartstonge  (M.  W.). 

Minstrelsy  of  Erin  .  .  .  .  118 
Harty  (Hamilton). 

Six  Songs  of  Ireland  .  .  146 

Irish      Symphony.  Tliree 
Traditional  Ulster  Airs  .  .  146 
Hatton    and    Molloy  (see 

Molloy). 
Heffernan  (W.  J.). 

Erin's  Sacred  Harp  .  .  121 

Henderson  (John),  of  Belfast. 

Flowers  of  Irish  ]\[elody  (2 

vols.)   123 

Hibernian  Muse  .  .        .  .  114 

Hime. 

Selection  of  Original  Irish  Airs  117 
Collection  of  Country  Dances  114 
Hoffman's. 

Edition    of   Petrie   for  the 
Piano        .  .         . .         . .  126 

HOLDEN  (SmOLLET). 

Collection  of  Old-Established 
Irish  Slow  and  Quick  Tunes  1 1 6 

Collection  of  the  Most  Es- 
teemed Old  Irish  Melodies 

Favourite  Irish  Airs  .  .  116 

Old  Irish  Melodies  .  .  .  .  116 
Holmes  (Augusta). 

Irlande   143 

HORNCASTLE  (F.  W.). 

Music  of  Ireland  .  .  .  .  121 
Hudson. 

National  Music  of  Ireland.  .  121 
Hughes  (Herbert). 

Irish  Country  Songs  .  .  133 

Hughes  (P.  H.). 

Gems  from  the  Emerald  Isle  125 
*See  also  Supp 


T. 

Inverness  Collection  of  Gaelic 

Songs   140 

Irish  Tonic  Soljaist  .  .         .  .  135 

J. 

Jackson. 

Celebrated  Irish  Tunes      .  .  113 
Johnson  (J.  J.)  and  Moffat. 

Irish  National  Songs         .  .  120 
Joyce  (P.  W.). 

Old  Irish  Folk  Music  and 
Songs   133 

Irish  Peasant  vSongs  in  the 
English  Language  .  .  126 

Irish  Music  and  Song        .  .  136 

Ancient  Irish  Music  .  .  126 

Joyce  and  Prof.  Glover. 

Music  of  Ireland      .  .        .  .  126 

K. 

Kennedy-Fraser  (Marjory). 

Songs  of  the  Hebrides        .  .  13!) 
Kerr's 

Collection     of    Reels  and 
Strathspeys,  etc.  . .        .  .  130 

KiNLOCH. 

One  Hundred  Airs  .  .  ..110 
L. 

Laoide  (Eoghan). 

An  Cjiuicijie  .  .         .  .         .  .  130 

Lee  (A.). 

Masque   113 

Lee  (S.). 

Gentleman's  Catch  Book   .  .  113 
Leng  (John)  and  Co. 

The  People's  Irish  Songs  .  .  126 
Levey  (R.  M.). 

The  Dance  Music  of  Ireland  124 
LoHR  (Hermann). 
I      Four  Irish  Lyrics  146 
I  Lynch  (John  P.).  ■ 
I      Melodies  of  Ireland  .  .  122 

ement  on  p.l34i. 


338  INDEX  TO  MUSIC. 


M. 

Millin  (S.  S.). 
The  Irish  Harp 

157 

MacBean  (Lachlan). 

Moffat  (Alfred). 

Songs  and  Hymns  of  the  Gael 

]  39 

Six  Irish  Folk  Songs 

129 

MacCullagh  (E.). 

I  he  Minstrelsy  oi  Ireland.. 

128 

Collection  oi  Irish  Airs 

119 

202  Gems  of  Irish  Melody .  . 

128 

M  Creery  (J.). 

Fantasia  on  Irish  Melodies 

Selection  from  the  Ancient 

for  Violin  and  Piano 

142 

Music  of  Ireland  .  . 

119 

Moffat  (Alfred)  and  John- 

MacDonald (D  oxald  ). 

son. 

Irish  Music  and  Irish  Scales 

158 

Irish  National  Songs 

120 

MacDonald  (Keith  Norman). 

MOLLOY  (J.  Li.). 

I  he    (jrcsto    L/Ollection  oi 

Songs  of  Ireland 

Highland  Music   . . 

138 

Moore  (Thomas). 

M 'Fad  yen's 

Letters  to  Power 

Collections 

1    1  A 

114 

Melodies     (Stevenson  and 

MacFarlane  (Malcol/M). 

(jrlover) 

Binneas  nam  Bard  (Bardic 

Irish    Melodies  (Stevenson 

Melody) 

and  Bishop) 

117 

McGouN. 

Irish  Melodies  (Staniord)  .  . 

135 

Repository    . . 

ltd 
lib 

Irish  Melodies  (2m  ovello  s  ed. ) 

134 

Macintosh's 

Mol^ntain's 

Collection  of  Irish  Airs 

1 14 

Hibernian  Catch  Book 

1 13 

M  Kenzie  (i).  C). 

Mulholland  (John  Macpher- 

Fantaisie  Irlandaise 

143 

son). 

]\IacKenzie  (John). 

A  Collection  of  Irish  Airs  .  . 

116 

I  he  i3eauties  ot  Craelic  roe- 

Murphy  (John). 

try  and  Lives  of  the  High- 

Irish   Airs   and   Jigs,  with 

lancl  ±>aras 

1  oo 

Variations .  . 

118 

McLean. 

Musical  Miscellany     .  .      1 14,  138 

Selection  of  22  Original  Airs 

1  lo 

MacLeod  (Malcolm  C). 

N. 

Modern     (Scottish)  Gaelic 

Bards 

Needham  (A.  A.). 

Maitland  {see  Grove). 

I.  Four  Irish  Ballads  .  . 

146 

Martin  (Robert). 

A  Bun  oil  of  Shamrocks 

147 

Songs 

1 4>* 

Novella  (publ.),  Irish  Air.^  ari  l 

Mason  (Redeern). 

Folk  Songs  r .  . 

151 

Song-Lore  of  Ireland 

155 

Mendelssohn. 

0. 

Fantasie  on    The  Last  Rose 

of  Summer  " 

141 

O'Brien's 

Miles  (A.  H.). 

Lusorium 

113 

The  A]  Book  of  Irish  and 

O'Brien  (Arthur). 

Welsh  Songs 

126 

Old  Songs  of  Ireland 

125 

♦See  also  Supplement  on  p.  34i. 


tNDEX  TO  ^[USIC.* 


339 


O'Callaghan  (Hon.  G.)- 

Ancient  Irish  Airs  .  .  119 

O'Carolan  {see  Carolan). 
O'CuRRY  (Eugene). 
"  Lectures  on  the  Manners  and 
Customs   of   tl\o  Ancient 

Irish"   153 

O'Daly  (John). 

Poets  and  Poetry  of  Munster  123 
O'DwYER  (Robert). 

Aiii|tAn  An  Oi|teAcr:Aif        ..  137 
First  Original  Irish  Opera, 
^-  Eithne      .         ....  137 

O'Farrell. 

Irish  Music  for  the  Union 
Pipes         .  .        .  .        .  .  115 

Pocket  Companion  for  the 
Irish  Pipes  .  .         .  .  115 

Ogden. 

Gems  from  Ould  Ireland    .  .  125 
O'Keeffe  (J.  G.)  arirt  O'Brien 

(Art).  i 

Handbook  of  Irish  Dances.  .  157 
O'Neill  (Capt.  Francis). 

Irish  Folk  Music  :   A  Fasci- 
nating Hobby      .  .        .  .  157 

The  Music  of  Ireland         .  .  13 1 

Irish  Music  for  the  Piano  or 
Violin   131 

The  Dance  Music  of  Ireland  131 
O'Neill  (Norman). 

Variations  on  an  Irish  Theme  144 
O'Neill  (Padraig  MacAodh). 

The  Songs  of  Uladh  .  .  132 

Operas   137,  143  sq. 

O'SUILLEABHAIN  (PaDRAIG). 

CeileAbAit  Cooil       .  .        .  .  136 
OwENsoN  (Sydney). 

Twelve   Original  Hibernian 
Melodies    .  .         .  .  ..117 

P. 

Patterson  (Annie  W.). 

Six  Original  Gaelic  Songs  .  .  137 

♦See  also  Suppl 


Petrie  (Geo.). 

Ancient  Music  of  Ireland  .  .  124 
[See  also  under  Stanford.) 

Pigott  and  Co.'s  Catalogues.  148,149 

Power  (W.). 

Musical  Cabinet       .  .        .  .  118 

R. 

Ritter  (F.  L.). 

Irish  Melodies  .  .  .  .  145 
Robinson  (Joseph). 

Arrangements  of  Melodies  146 
Rogers  (Brendan). 

ClAi]ifeAc  tiA  n-^Ae-ooAl  . .  137 
RooNEY  (Hubert  E.). 

The  Well-known  Songs  of 
Ireland  130 

S. 

Scotch  Songs  .  .  . .  140,  141 
Seymour  (J.). 

Irish  May  Day  . .  .  .  144 
Sheehan  (J.  J.). 

A  Guide  to  Irish  Dancing  .  .  157 
Smith    (Dr.    J.).    {See  Fitz- 

SIMONS.) 

Smith  (R.  A.). 

The  Irish  Minstrel  .  .  .  .  119 
The  Spirit  of  the  Nation  .  .  122 
Spohr  (Louis). 

Potpourri  on  Irish  Airs  .  .  143 
Stage  (Mrs.). 

Erin's  Harp  .  .        .  .  .  .  145 

Stanford  (Sir  Charles  Vil- 

LIERS). 

The  Complete  Petrie  Collec- 
tion of  Ancient  Irish  Music 
(3  vols.)  130 

The  Irish  Symphony  in  F 
Minor        ".  .        .]        .  .  143 

An  Irish  Idyll  in  Six  Minia- 
tures        .  .        .  .        . .  143 

{See  also  undm-  Graves.) 
ment  on  p.  341. 


340 


INDEX  TO  MUSIC* 


Stockhansbn. 

Six  Irish  Folk  Songs 
Sturrock  (J.  P.). 

Piping  for  Boys 
Sullivan  (Sir  Arthur). 

Symphony  in  E  (The  Irish 
Symphony) 
Surenne  (J.  T.). 

Songs  of  Ireland 


Thalberg  (S.). 

Airs  Irlandais 

Irish  Fantasia 
Thomson. 

Hibernian  Muse 
Thomson  (Geo.). 

A  Select  Collection  of  Irish 
Melodies    . . 
Thumoth  (Burke). 
Tours  (B.). 

Old  Ireland  


147 


156 


142 


124 


144 
144 

114 


118 
112 

132 


V. 

Valentine  (publ.). 

Songs  of  Ireland 
Vocal  Magazine 

W. 

Walker  (Joseph  Cooper),  the 

Historical  Memoirs  of 
Irish  Bards 
Wallace  (W.  Vincent). 

Melodie  Irian daise  .  . 

Favourite  Irish  Melodies  .  . 
Walsh  (William). 

Irish  Tunes  for  the  Scottish 
and  Irish  War  Pipes 
Walsh  (Rev.  P.). 

Nos.) 
White  (Dr.). 

Legendary  Ballads  .  . 
Whitehead  (Fr.  W.). 

Songs  of  the  Highlands 
Wilson  (J.). 

Musical  Erxcyelopsedia 
Wright  (D.). 

Aria  di  Camera 


144 

142 


135 


*See  also  Supplement  on  p.  311. 


SUPPLEMENT  TO  MUSIC  SECTION. 


Adams. 

Musical  Repository  .  .  .  .  115 
Burke  (Thumoth). 

Collection  —  English,  Irish, 
and  Scottish  Airs.  .        .  .  112 
Campbell. 

Albyn's  Anthology  .  .        .  .  138 

COLLISON. 

Irish  Suite  in  E  Minor        .  .  144 

COLUMBA. 

Collection  of  Gaelic  Songs.  .  140 
CULWICK  (J.  C). 

The  Distinctive  Characteris- 
tics of  Irish  Melody        .  .  158 
Edinburgh  Musical  Miscellany  138 
Flood  (Dr.  W.  H.  G.). 

Songs   148 

Folk-Song  Society,  Journal  of 

Irish  .  .        .  .        .  .  158 

Graves  and  Stanford. 

Irish  Songs  and  Ballads     .  .  127 
Henebry  (Rev.  R.). 

Irish  Music   .  .        .  .        .  .  158 

Inverness  Collection  of  High- 
land  Pibrochs,  Laments, 
Quicksteps  and  Marches.  .  140 
Irish  Folk-Songs  for  a  Medium 

Voice        .  .        .  .        .  .  147 

Journal    of    Irish  Folk-Song 

Society       .  .        .  .        .  .  158 

Lyre,  The  Celtic,  Gaelic  Songs 

(Fionn)  140 

MacBean. 

Songs,  Hymns,  and  Psalms 
of  Scottish  Highlands    .  .  140 


Macdonald's 

Collection  of  Highland  Airs  138 
Moffat  (A.). 

Gems  of  Irish  Song.  .  .  .  128 
Morrison's 

Highland  Airs  and  Quick- 
steps  139 

MULHOLLAND  (J.). 

Collection  of  Irish  Airs  .  .  118 
Musical  Museum,  The  Scots'.  .  138 
Neale. 

Collection  of  Irish  Tunes  .  .  112 
Needham. 

Four  Lyrics  .  .        .  .        .  .  14() 

Your  Father's  Boreen        .  .  147 
One  Hundred   Songs  of  Ire- 
land (1859)  . .        . .  125 
O'Neill  (Rev.  G.,  S.J.). 

Hymns  to  SS.  Patrick  and 
Brigid        .  .        .  .        .  .  147 

Oswald's 

Caledonian     Pocket  Com- 
panion      . .        . .        . .  138 

Pelissier  (W.  H.). 

Connla  of  the  Golden  Hair.  .  145 
School  and  Home  Songbook.  .  127 
Stewart  (Sir  R.). 

Choruses  and  Songs  .  .  145 

Stewart. 

Killin   Collection   of  High- 
land Music  .  .        .  .   I  k) 
Thomson's 

Four  Sets  of  Scottish  Airs.  .  138 
Vocal  Magazine  (4  vols. )  ..115 


V.-INDEX  TO  PLAYS  (TITLES). 


A. 

Absentee,    The    (Graves  and 

Walle)   2 

Absentee,  The  .  .  .  .  217,  258 
Agent  and  the  Absentee,  The 

(McNeil)   176 

Agra-na-Chree  (Falconer)      .  .  203 
Aiieen  Asthore  ;    or,  Irish  Fi- 
delity (Hazlewood)  .  .        .  .  205 
Aiieen  ;     or,   Foiled   at  Last 

(CoUins)   208 

Alarm  Clock,  The  (Montgomery)  309 
Alien,  The  Rose  of  Killarney .  .  201 
All  Hallow's  Eve  ;    or.  Snap 

Apple  Xight  210 

All  Hallow's  Eve  (Hon.  :\Iis. 
Forbes  and  Whit  bread)     .  .  233 

Alone  (Reilly)  304 

Alone  in  London  (Buchanan 

and  Jay)   219 

Amends  for  Ladies  (Field)  .  .  161 
Amergin  (McSweney)  .  .  .  .  217 
Amorous   Bigot,    The  (Sliad- 

well)  163 

Anchora  Macree  .  .         .  .  207 

Andy  Blake  (Boucicault)  .  .  194 
Angela  (Hanly)  .  .         .  .  304 

Apprentice,  The  (Murphy)  .  .  166 
Ai-ound  the  World      .  .         .  .  314 

Arrah-Ma-Beg  206 

Arrah-na-Brogue         .  .         .  .  205 
Arrah-na-Pogue  ;  or.  The  Wick- 
low  Wedding  (Boucicault))  196 
Arrah  Niel ;    or.  The  Vale  of 

Knockfierna  .  .         .  .  208 

Airanopia  (Giraldi)     . .        .  .  159 


I   Airival  at  Crow  Street  ;  or, 
I       Thespian  from  Tanderagee .  .  172 
^   At  the  Hawthorn  Bush  (Bar- 
low)  313 

At  the  Rising  of  the  Mooti 
(Grange)       .  .        . .        . .  255 

B. 

i 

Bad  Quarter  of  an  Hour,  A 

(Costello)   237 

Baihff  of  Ballyfoyle,  The  ;  or, 

Ireland  in  the  Penal  Days.  .  312 
Bailiff  of  Kilmore,  The  (Ford)  282 
Balla-go-Faugh  (Towers)       .  .  215 
Ballinasloe  Boy,  The  (Hazle- 
wood) .  .         .  .         . .         . .  205 

BalK  vogan  (Lloyd)     .  .         .  .  226 

Bamfylde  Moore  Carew  ;  or. 
The  King  of  Beggars         . .  191 
I   Banks   of  the   Boyne  Water 

(Bishop)   223 

Banshee's  Spell,  The  (Watson)  221 
Banshee,  The  ;   or.  The  Spirit 

of  the  Boreen  (Levey)        .  .  210 
Bantry  Bay  (Bond)    .  .         .  .  241 

Bantry  Bay  (Reynolds)         .  .  172 
Bard  Gus  an  Fo,   An  (The 
Bard    and    the    Kjiight) — 
(McSwiney)   .  .        .  .         .  .  217 

Barney  the  Baron  (Lover)  177 
Barney  in  Connemara  (Slaugh- 
ter)  278 

Barney's  Coiu-tship  ;  or,  MoUie 
I      Dear  (Macarthy)      .  .         .  .  321 
I  Baron  Munchausen";^or,^^The 
:      Genii  of  the  Emerald  Isle  .  .  192 


INMX  TO  PLAYS. 


343 


Bashful  Irishman,  The         .  .  200 
Battle  of  Aughrim,  The  ;  or, 
The   Fall   of   Monsieur  St. 
Ruth  (Ashton)        .  .        .  .  166 
Battle    of    Castleknock,  The 

(Campbell)  289 

Beaux  Stratagem,  The  (Far- 
quhar)  .  .        .  .         .  .  164 

Before  Clonmel  (Walsh)        .  .  281 
Belles'  Stratagem,  The  (Cow- 
ley)  170 

Bending  of  the  Bough,  .  The 
(Moore)         .  .        .  .        .  .  255 

Bequeathed  Heart,  The  (Peake)  190 
Best  of  a  Bad  Bargain,  The 

(Redmond)  291 

Betrayed  (Manning)  ..  ..  2l8 
Betsy  (Burnand)  .  .  .  .  217 
Betting  Man's  Career,  The  ;  or, 
The  Shade  of  Dan  Donnelly, 
and  What  Happened  to  Him  204 
Biddy  O'Neill  ;  or,  The  Daugh- 
ter of  Erin  (Pitt)  . .  . .  207 
Birthright  (Murray)  .  .  .  .  295 
Black  Hawks  (The)  .  .  .  .  240 
Blackmouth,  The  (Mayne)  .  .  282 
Blackmailers,  The  (Whitbread)  277 
Blarney  (Creamer)  .  .  . .  212 
Blarney  (Logan)  ..  ..211 
Blighted  Being,  The  (Taylor).  .  198 
Blonde  and  Brunette  (O'Shea)  211 
Blunders  at  Brighton  {see  The 

Irish  Mimic). 
Boatman  of  the  Shannon,  The 

(Towers)   215 

Boccogh,  The  (Gomersall)  .  .  222 
Bold  Soger  Boy,  The  (Sayre). .  239 
Bong  Tong,  Come  to  Balrud- 

dery  (MacManus)     .  .        .  .  276 
Bootle's  Baby  (Moss)  .  .        . .  227 
Born  to  Good  Luck  (Power). .  184 
Botany  Bay  (Woods  and  Wil- 
son)  233 

Botheration      .  .        . .        .  .  191 


Bould  Soger  Boy,  The  (Ster- 
ling)   ^  ..197 

Boycotting  (Lady  Gilbert)     .  .  380 
Boy  Deeds  of  Cuchulain,  The .  .  294 
Boyne  Water,  The  ;    or,  The 
Relief  of  Londonderry  (Buck- 
stone)..   181 

Boy  O'Carrol  V' Rutherford  ")  281 
Brand  from  the  Burning,  A  .  .  312 
Brian  (McSwiney)  .  .  .  .  217 
Brian  Boroihme  .  .         .  .  191 

Brian  Boroihme  (Knowles)  .  .  187 
Brian     Boroihme  ;  ■    or,  The 

Maid  of  Erin  (O'Meara)      .  .  173 
Brian  of  Banba  (Milligan)     .  .  2,">4 
Brian  of  Banba  (Hobson)      .  .  213 
Brian  the  Bold  and  the  Cork- 
seeking    Brothers  (McClel- 
land)  221 

Brian  Brou  (Strange  and  Ed- 
wards)  237 

Brian  Brou  (Bottle)  .  .  .  .  243 
Bridget  O'Brien,  Esquire  (Lys- 

ter  and  Sheridan)  .  .  .  .  226 
Bridget's  Blunders  (Smith)  .  .  234 
Brine  Oge,  The  (Patmore)  .  .  237 
Buckle  Beggar,  The  (Guinan) .  .  3 15 
Building  Fund,  The  (Boyle)  .  .  279 
Bimch  of  Lavender,  A  (Barlow)  313 
Bunch  of  Shamrocks,  A  (Bate- 
man  and  Douglas)  .  .  .  .  238 
Burden,  The  (Worthington)  .  .  307 
Buried  Life  of  Deirdre,  The 

(Booth)   316 

Bursting  of  the  Bubble,  The 
(Hyde)   259 


C. 

Call  of  the  West,  The  (O'Brien)  30<) 
Call  to  Arms,  The  (Kearney).  .  302 
Canavans,  The  (Lady  Gregory)  200 
Captain  O'Blunder  ;    or,  Tho 
Brave  Irishman  (Sheridau).  .  K*).") 


INDEX   TO  PLAYS. 


Captain  of  the  Hosts  ('"Mayne"')  283 
Casting  Out  of  Martin  Whelan, 

The      Ray             .  .        .  .  297 

Cead  Mille  Failthe  (Murdock) .  .  215 

Challenge,  The  (Letts)           .  .  286 

Charity  (Scott)   317 

Charles  O'Malley  (Sayre)       .  .  238 

Charles  O'Malley  (Moore)      ..  220 

Charles  O^Malley  (Macarthy).  .  188 

Chorus  Lady,  The  (Forbes)  .  .  294 
Chronicle   History   of  Perkin 

Warbeak,  The  (Ford)  102 

City  Politics  (Crowne)           .  .  103 

Civil  War  (Dukes)      .  .        .  .  300 

Clancy  Xame,  The  (Robinson)  292 

Coats  (Lady  Gregory).  .  .  .  203 
Cola's  Fury  ;    or,  Lyrenday  s 

Misery  (Burkhead)  .  .  .  .  102 
Colleen  Bawn  Settled  at  Last 

(Brough  and  Haliday)       .  .  202 

Colleen  Ba\vn,  The  (Boucicault)  194 

Collegians,  The           .  .         .  .  180 

Colleen  Glas,  The  (Logue)    ..  212 

Colonel  O'Shea's  Wager  (Burns)  304 
Coming  of  Ardeen,  The  (Cos- 

tello)   237 

Coming  of  Fionn,  The  (Standish 

O'Grady)    250 

Connnittce,  The  (Howard)  .  .  103 
Confederates,  The  (Boyle)  .  .  280 
Confounded  Foreigners  (Web- 
ster)   187 

Conn  ;   or,  Out  of  Sight,  Out 

of  Erin  (Green)  .  .  .  .  210 
Connaught  Wife,  The  {see  A 

Joiu-ney  to  Bristol).  108 

Connemara  (Chute).  .  .  217 
Connie  Soogah,  The  ;   or,  The 

Wearing  of  the  Green  .  .  209 
Conn  la   of   the   Golden  Hair 

(Pehssier)   234 

Conor  O'Nial  (Longhaye)       ..  515 

Conspiracy  of  Dublin,  The  109 
Conversion  of  the  Cailin,  The 

(O'Heer)    277 


Ccolean   Dawn    (Dutnell  and 

Johnston)      .  .         .  .         .  .  201 

Coom-na-Goppel  (Carleton)   .  .  320 

Corney  Rhue  (Connor)  .  .  214 

Countess  Cathleen  (Yeats)  .  .  248  ■ 
Country  Dressmaker,  The  (Fitz-  • 

maurice)        .  .         .  .         .  .  285  ; 

Cousin  Kate  (Davies)  .  .        .  .  209  \ 

Creamery  Clerk,  The  (Shakes-  \ 

peare)  .  .         .  .         . .  307  : 

Croppy  Boy,  The  (Alfred)    .  .  297  | 

Cross  Roads,  The  (Robinson).  .  292  i 

Cruskeen  Lawn  (McCarthy)  .  .  232  ' 

Cuchulain  (Upton)      .  .         .  .  227  j 

Cuchulain   (Suseen   and  John  ; 

Varian)         .  .         .  .         .  .  310 

Cuckoo's  Nest,  The  (Guinan)  315  : 

Cupid  in  Kerry  (Leamy)       .  .  281 

Cushla-Ma-Cree  (Levey)        ..  210 


D.  ' 

Daddy  ODowd  (Boucicault)..  190  ! 

Dandy  Fifth,  The  (5th  Royal  I 

L-ish)— (Sims  and  Corri)  \.  241  : 

Daniel  O'Connell  (Robinson)..  221  | 

Daniel  O  Connell ;  or,  Kerry's  \ 

Pride  and  Munster's  Glory  , 

(Levey)    211  ; 

Daniel  O'Rourkc  ;  or.  Rhymes  i 

of  a  Pantomime  (Croker)  .  .  178  \ 

Darby  the  Dodger  (Lynam)  .  .  200  ; 

Darby  O'Rourke  and  the  Eagle;  \ 

or,  Harlequin  and  the  Man  ] 

in  the  Moon   190  ^ 

Darby  in  Arms  (Millihen)  174  ] 

Dark  Glen  of  Ballyfoihl,  The  1 

(Sterling)    207  ; 

Daughter  of  Ireland,  A  (Hur-  '\ 

son)    .  .        .  .        . .        . .  305 

Daughter  of  Erin,  A  (Miss  Le  ^ 

Fanu  Robertson)     .  .        .  .  231  ' 

Daughter  of  Donagh,  The  (Mil-  ' 

ligan),          . .        . .        .  .  253 

] 

\ 


INDEX  TO  PLATS. 


345 


Dawning    of    the    Day,  The 

(Boyle)   280 

Day  in  DubUn,  A  (Williams).  .  307 
Day   in   Paddy's   Market,  A 

("  Fox  ")   273 

Dead  o'  Night  Boys  (Branson)  211 
Dear  Hearts  of  Ireland  .  .  255 
Deirdre  (Esposito  and  Rolles- 

ton)  258 

Deirdre  (Russell)  .  .  .  .  269 
Deirdre  (Ferguson)  .  .  .  .  307 
Deirdre  (Yeats)  .  .         .  .  251 

Deirdre  of  the  Sorrows  (Synge), 
(Incidental  Music  by  John  F. 

Larehet)   209 

Dcrniot  and  Kathleen  ;  or,  The 

Irish  Wedding  (Byrne)      .  .  172 
Derniot      O'Donoghue,  the 
Stranger       from  Belfast 

(Fraser)   208 

Derry  DriscoU  ;  or.  The  Sports- 
man  Pearl   (Macherne  and 
Aylmar)        . .        .  .        .  .  215 

Dervorgilla  (Lady  Gregory)  .  .  202 
Destruction  of  the  Hostel,  The 

(Colum)   2(H) 

Devil's  in  the  Room,  The  .  .  121 
Dhiuv  Gow,  The  .  .  .  .  222 
Dhrame,   The  ;    or,  Barney's 

Mistake  (Nugent)    ..  ..214 
Diarmid  (Lome  and  ]\rCumi) .  .  241 
Diarmid   and   Griana  (^loore 
and  Yeats),  (Incidental  Music 
by  Sir  Edward  Ehjar)        .  .  249 
Dick  Sheridan  (Buchanan)  .  .  219 
Dillock  Girl,  The        .  .        .  .  192 
District  Councillor,  The  (Ham- 
ilton)  27() 

Diver  s  Luck,  The  (Cooke)  .  .  209 
Doctor,  The  (O'Beirno)  .  .  270 
Doctor's  Boy,  Tlio  .  .  .  .  312 
Doctor's  Dilemma,  The  (Shaw)  271 

Doctor  Paddy  222 

Donagh,  The  ;  or.  The  Rose  of  j 
Killarney  (Rowe)    . .        .  .  223  I 


Donagh,  The  (Groves)  .  .  180 

Donaglvs  Romance  .  .  .  .  222 
Don  Paddy  de  Bazan  (Groves)  198 
Donnybrook  (Pel/er)  .  .  .  .  242 
Double   Disappointment,  The 

(Mendez)  .  .  .  ,  .  .  105 
"  Down  in  Kerry  "  (MacCar- 

thy)  311 

Dramatic  \'aliies  (Montague), 

(book)   

Drone,  Tlie  (Mayne)  .  .  .  .  282 
Drums  of  Doom,  The  (Stuart)  312 
Dublin    Boy,   The   {t<cr  Andy 

BlakO. 

Dublin  Bay  (Robertson)  ,  .  207 
Dubhn  by  Night  .  .  .  .  218 
Duke's  Motto,  The  (Brougham)  189 
Dumb  Wife,  The  ;    or,  Irish 

Promotion     .  .        .  .         .  .  192 

Dunmore  ;  or,  the  Days  of  the 

Land  League  (Murphy)      .  .  228 


E. 

Earth,  Tlie  (Fagan)     .  .         .  .  2r>4 

Easter   Fife   on   the   Hill  of 
Slane  (Kaenders)     ..  ..311 

Edmund  Biu^ke  (Say re)         .  .  240 
Eileen  Asthore  (Sayre)          .  .  240 
Eileen  Alannali  ;  or.  The  Out- 
laws of  the  Glen  (^lahoney)  235 
Eileen  Dhu  (Gordon)            .  .  222 
Eileen   Oge  ;    or,  Dark's  the 
Hour    Before    Dawn  (Fal- 
coner)          . .        .  .        .  .  203 

Eily  O'Connor  (Haines)         .  .  181 
Eily  O'Connor  (Wilks)          ..  180 
Eitlnie  (O'Dwyer  and  O'Kelly)  21M) 
Eleanor's    Enter])rise    ('*  Bir- 
mingham ")  . .        . .        . .  315 

Eloquent  Dempsey,  The  (Boylo)  279 

Embers,  The  (Corkery)  .  .  29  1 
Emerald   Isle,   The  (Sullivan, 

Gei'uian,  aiul  Hood)           .  .  255 


346  INDEX  TO 

Emerald  Ring,  The  .  .  .  .  191 
Emerald  Queen,  The  (Travers)  206 
Emigrant's     Daughter,  TheJ^j^^^ 

(Raymond)  "^186 

Emigration  (O'Grady)  .  .  220 

Emigration  (Connor)  .  .         .  .  214 


Enchanted    Harp,    The  ;  or, 

Harlequin  for  Ireland  (Cross)  173 
Enchanted  Sea,  The  (Martyn)  252 
Enthusiast,  The  ("  Pur  cell  ")  272 
Epilogue,  The  (Corkery)        .  .  295 
Erin-go-Bragh  ;   or.  The  Mile- 
sian Trust  in  Luck  .  .        .  .  208 

Erin-go-Bragh  ;  or.  The  Wren 

Boys  of  Kerry  (Hazlewood)  205 
Escape  of  Red  Hugh,  The  (Mil- 
ligan)  .  .        .  .        . .        .  .  253 

Etiquette  ;    or,  A  Wife  for  a 
Blunder  (Power)      .  .        .  .  184 

Eviction  (O'Grady)     . .        .  .  219 

Eviction,  The  (Ewing)  .  .  310 

Exiles 'of  Erin,  The;    or,  St. 
x4.be  and  his  Seven  Wives 
(Buchanan)  .  .         .  .         . .  219 

Exile,  The  (O'Toole)  . .        .  .  286 

Eyes  of  the  Blind,  The  (Letts)  285 

F. 

Fair  Hibernian,  The  (David- 
son)  320 

Fair  Irish  Maid  (McCarthy)  .  .  301 
Fairy   Circle,    The  ;     or  Con 

O'Carolan's  Dream  (Grattan)  185 
Fairy  Follower,  The  (Guinan)  315 
Fairy  Man,  The  (Hazlewood).  .  205 
Fairy  Finder  ;    or,  Larry  and 

the  Leprechaun  (O'Grady).  .  220  | 
Faithful     Irishwoman,     The  j 

(Clive)   168  ! 

Faithful    Irishman,    The  {see 

The  Committee). 
Falsely  Accused  (Carlyle)     .  .  241 
Falsely  True   (Johanna  Red- 
mond''  290 


1 

PLAYS.  I 

Family  Failing  (Boyle)  .  .  280  ' 
Famine,  The  (O'Grady)  .  .  220  \ 
Fanny's  First  Play  (Shaw)  .  .  272  j 
Fardorougha  the  Miser    (Ma-  , 

grath)    226  j 

Fardorougha  and  the    Black  j 

Prophet  (Stanley)  ..  ..  242 _j 
Fardorougha  (Downey)  .  .*  227  ; 
Father  Murphy  ;  or,  The  Hero  ; 

of  Tullow  (Allen)  .  .  .  .  300  i 
Father's  Oath,  The  .  .  .  .  234  ^ 
Fand  of  the  Fair  Cheek  (Blunt)  273  ' 
Feis  at  Ancient  Tara,  The  .  .  313 
Fenian,  The  (O'Grady)  . .  220  , 
Fenian's  Death,  The  (Moran).  .  297  ^ 
Fiddler's  House,  The  (Colum) .  .  265  ; 
Fin  Maccoul  (Boucicault)  .  .  196  : 
Finnigan's  Fortune  (Art)  .  .  240  > 
Finola ;    or,  The  Marriage  of  ! 

Tara  (Dawson)  .  .  .  .  216  i 
Fionn  (O'Grady)  .  .  .  .  256  j 
Fionn  and  Tera  (Lorne  and 

Drysdale)      .  .         .  .        .  .  241 

Fires  of  Fate  (Doyle)  .  .        .  .  296  ! 

Fisherman's    Daughter,    The  -  j 

(Ward  and  Curran).  .  .  .  235  j 
Flame   on   the   Hearth,   The  i 

(O'Kelly)    287  i 

For  Ireland's  Sake  ;  or,  Under 

the  Green  Flag  (Muldoon).  .  314  ' 
Forge,  The  (Darling)  .  .  .  .  315  ' 
Fortune's    Soldier     (see    The  ! 

Happy  Man). 
Fotheringay,  The  (Kir wan)  .  .  269  ' 
Four    'Prentices    of    London,  j 

with  the  Conquest  of  Jeru-  i 

salem.  The  (Haywood)  ..  lOl  | 
Four-leaved    Shamrock,    The  i 

(Travers)    206  ! 

Four-leaved  Shamrock  (Ham-  \ 

ilton)  321  ! 

Four  Kings,  The  ;  or,  Paddy  in  ; 

the  Moon  (Hazlewood)  .  .  205  ; 
Freedom's  Cause  .:   or,  O'Don-  , 

nell  the  Outlaw  (Wyley)  .  .  300  . 


INDEX  TO  PLAYS. 


347 


French  are  on  the  Sea,  The 

(MiUigan)   254 

French  Huzzar,  The  (Whit- 
bread)    226 

Fugitive,  The  (McGloughlin). .  308 

Full  Moon,  The  (Lady  Gregory)  263 

Fun  on  the  Bristol    . .        .  .  220 

G. 

Galway-go-Bragh  ,  or,  Love, 
Fun  and  Fighting  (Falco- 
ner)   ..202 

Gallant  of  Galway,  A  (Duncan)  256 

Gaol  Gate,  The  (Lady  Gregory)  261 

Garret  O'Magh  (Piton)  .  .  236 
Garry owen  ;    or.  The  Bells  of 

Shandon  (Lavery)  .  .  .  .  215 
Genius  of  Ireland,  The  (Mac- 

auley)   170 

Gentleman   from    Ireland,  A 

(O'Brien')   198 

Gerald  of  Kildare  (Bibby)  ..201 

Gerald  (McNevin)       .  .        .  .  180 

Girl  of  my  Heart,  The  (Leonard)  239 

Glendalough  (Gurney)           .  .  230 

Gliocas  (O'Shea)         . .        .  .  313 

God  of  War,  The  (Whitlock)  242 

Golden  Helmet,  The  (Yeats)  251 
Gombeen's    Gold,    The  ;  or. 

Creeping  Shadows             .  .  229 

Gomerel,  The  (Mayne)  .  .  383 
Gommoch,  The  (O 'Grady),  {see 

The  Fairy  Finder.) 

Good  People,  The  (Pearse)    .  .  318 

Gra  Gal  Machree  (Connor)  .  .  241 
Gramachree  Molly ;    or.  The 

Lily  of  the  Lakes  .  .        .  .  192 

Gran-u-Aille   231 

Granna-Waile  ;  or,  The  Bridal 

Eve  (Archer)           .  .        .  .  211 

Great  Change,  The  (Partridge)  281 

Green  Shores  of  Erin  .  .  .  .  322 
Green   upon   the   Cape,  The 

(MiUigan)   254 


Green  Bushes,  The  (Buckstone)  181 
Green  Helmet,  The  (Yeats)  .  .  251 
Grin  Bushes,  The  ;    or,  Mrs. 

Brown  of  Missusippi  .  .  .  .  206 
Groves  of  Blarney,  The  (Hall)  182 


H 

Half-Sir,  The  (McHugh)        . .  323 
!  Handy  Andy  (Floyd)..        ..  203 

Handy  Andy  (Montgomery)..  203 
Happy  Hooligan  (Humphries)  300 
Happy  Man,  The  (Lover)     .  .  177 
Hard  -  Hearted     Man,  The 
(MacManus)  .  .        .  .        .  .  274 

Harem  Doctor,  The  (Murray, 
Baynes,  and  Ives)  . .        . .  312 

;  Harlequin  Fulminoso  ;  or.  The 
'      Gardens     of  Glen-Fearna 

;       (Waller)   197 

j   Harlequin  Shaun  a  Lanthero  ; 

or,    Fin    M'Coul    and  the 
I       Fairies  of  Lough     .  .        .  .  192 

I  Harlequin   and   O'Donoghue  ; 
I      or.  The  White  Horse  of  Kil- 
'      larney  .  .        . .        . .  196 

I  Harp  that  Once,  The  (MiUigan)  253 
I  Harvest  (Robinson)    .  .        .  .  293 

;  Harvest  (Hamilton)    .  .        .  .  223 

!  Hearts  o' the  West  (Cassidy).  .  238 
Hearts  of  Erin  (MiU  and  Bruske)  233 
Heather  Field,  The  (Martyn).  .  252 
Henri  Quatre  ;  or,  Paris  in  the 

Old  Time  178 

I  Hermit   and   the   King,  The 

i       (Corkery)  294 

I  Hibernia  Freed  (Phillips)  .  .  104 
'  Hibernia's  Triumph  .  .  .  .  105 
I  Hie  et  Ubique  ;  or.  The  Hu- 
!  mours  of  Dublin  (Head)  .  .  103 
I  Himself  and  the  Widda  (Lowry  {  305 
I  His  Last  Legs  (Bernard)  .  .  183 
!  History  of  Sir  John  Oldcastle, 
I      The  100 


348  INDEX  TO 

Holocaust,  The  (McSwiney)  .  .  304 

Homecoming,  The  (O'Kelly)  .  .  287 

Home  Kule  (Brady)    .  .         .  .  219 

Home  Sweet  Home  (Fitzpat- 

rick  and  Markievicz)          .  .  289 
Home  Rule  (Brougham)        .  .  189 
Honest  Thieves,  The  (Knight)  172 
Honest  Whore,  The  (Decker).  .  160 
Honor's  Choice  (Johanna  Red- 
mond)          ..         ..         . .  290  I 

Hospital  Ward,  A  (Muldoon).  .  314  ; 

Hour  Glass,  The  (Yeats)       .  .  249  | 

How  to  Pay  the  Rent  (Power)  184  i 

Hugh  Roe  6'Donnell(0'Grady)  250  i 

Hugh  O'Neill  (Maol)  .  .        .  .  273  I 

Humours  of  an  Irish  Court  of  ! 

Justice,  The  .  .        .  .        .  .  1G5 

Hyacinth  Halvey  (Lady  Gre-  j 

gory)   261  I 

Hyde  Park  (Shurley)  .  .        .  .  162  | 


I. 

Icebound  ;    or.  The  Exiles  of  \ 

Fortune    (Cooke   and   W^al-  | 

dron)  209 

II    Paddy    Whack    in    Italia  | 

(Lover)   177  j 

Image,  The  (Lady  Gregory)..  263  | 

Imaginary    Conversation,    An  j 

(Conneil)   291  | 

I'm  Not  Myself  at  all  (Maltl>y)  243  \ 

In  and  Out  of  Place  .  .         .  .  200  I 

Inchavogue  (Cahill)     .  .         .  .  209  | 

Indian  Mutiny,  The    .  .         .  .  234  \ 

In  Fear  of  the  Law    .  .        .  .  242  | 

Informers  (Creamer)   .  .        .  .  212  : 

Innisfallen  ;    or,  The  ]Man  in  : 

the  Gap  (Falconer)  .  .        .  .  203  j 

Inspector's  Visit  ;    or,  Paddy  j 

Byrnes,    the   Irish    School-  j 

master.  The  (Fitzgerald)  .  .  201  I 

Insurgent  Chief,   The   (W^hit-  ; 

bread)  .  .        . .        .  •  225  j 


PLAYS. 

i 

International  Exhibition,   An  ' 

(Ryan)   214  ! 

In  the  Days  of  the  Union    .  .  320  , 

In  the  Shadow  of  the  Glen  ' 

(Synge)                                    264  j 

Invincibles,  The  .  .  .  .  178  ! 
Ireland  as  it  Was  (Amherst).  .  200 

Ireland   Preserved  ;     or.   The  ; 

Siege  of  Londonderry  (Michel-  | 

borne)           .  .         .  .         . .   165  I 

Irish  Absentee,  The  (Hyde)  .  .  187  ' 
Irish  Ambassador,The(Kenney)  188 

Irish  Aristocracy        .  .         .  .  222  ; 

Irish  Artist,  The  (Piton  and  1 

Jessop)         .  .        . .        . .  235  i 

Irish   Assurance   and   Yankee  ! 

Modesty                                   240  ' 

Irish  Assurance  {f^ee  His  Last  \ 

Legs).  j 

Irish  Attorney,  The  (Bernard)  183  | 

Irish   Attorney,   The   (Father  ' 

Irwin)   296 

Irish  Belle,  The  {see  The  Irish  j 

Widow)                                    209  I 

Irish  Chairman  (Dibdin)        .  .  190  j 

Irish  Diamond  .  .        .  .         .  .  197  • 

Irish  Diamonds           .  .         .  .  212  i 

Irish   Doctor,   The  ;    or,   The  i 

Dumb  Woman  Cured  (Wood)  192  \ 

Irish    Dragoon,    The    (Whit-  ' 

bread)                                     226  ! 

Irish  Dragoon,  The  ;  or.  Wards  \ 

in  Chancery  (Selby)           .  .  193  ' 

Irish  Elopment,  An    .  .         .  .  226  ; 

Irish  Election,  The  (Fitzgerald)  201  i 

Irish  Emigrant,  The  (Broug-  j 

ham)  189  i 

Irish  Engagement ,  An .  .         .  .  2 1 8  j 

Irish  E>es                                   228  \ 

Irish  Fine  Lady,  The  (Macklin)  167  ■ 
Irish  Footman,  The  {see  Two 

to  One)    i 

Irish  Gentleman,  An  (Murray  • 

and  Shine)    .  .         .  .         .  .  240  ^ 

Irish  Heiress,  The  (Boucicault)  193  ' 


TNDr:X  TO  PLAYS.  341) 


Jiish  Hospitality  ;    or,  Virtue 


Rewarded  (Shad well)         ..  164 
Irish  Intrigue,  An  (Doyle)     .  .  210 
Irish  Knight,  The       .  .         .  .  159 
Irish  Land  Accent,  The  (O'Con- 
nor)   . .      '  208 

Irish  Land  Agent,  The .  .  .  .  234 
Irish  Legacy,  The  (Arnold)  .  .  172 
Irish  Life  (Creamer)  .  .  .  .  212 
Irish  Lion,  The  (Buckstone) .  .  181 
Irish  Manufacture  ;  or,  Bob 
M'Gawley's  Project  (Carle- 
ton)    ..   190 

Irish  Masque   at   Court,  The 
(Johnson)      .  .         .  .         . .   1 02 

Irish  Mesmerism  (see  His  Last 
Legs). 

Irish  Mimic,  The  (0"Keef¥e)  .  .  171 
Irish  Minstrel,  The  ;    or.  The 

Exiles  of  Fortune  (Count)..  206 
Irish  Post,  ^The  (Planche)     .  .  178 
Irish  RebelUon,  The  .  .         .  .  162 

Irish  Serf,  The  (Boshelle^     ..  193 
Irish  Tar,  The  (Oulton)        .  .  172 
Irish  Tiger,  The  (Morton)     .  .  193 
Irish  Tutor,  The  (Glengall)..  176 
Irish  Valet,  The  (Wilson)     .  .  174 
Irish  Widow,  The  (Garrick)..  169 
Irish  Woman,  The  (Clarke)..  175 
Irishman,  The  (Whitbread)   .  .  224 
Irishman's  Fortune,  The  {see 

Born  to  Good  Luck). 
Irishman's    Heart  ;     or.  The 

Kiss  of  the  Blarney  (Levey)  210 
Irishman's  Home,  The  .  .  182 

Irishman's  Home,  The  .  .  211 

Irishman  in  Italy,  The  (Moul- 
ter)     ..        .[        ..  ..173 

Irishman  in  London  (Macready)  180 
Irishman  in  Spain,  The  (Stuart)  172 
irishman's  Manoeuvre .  .         ..  320 

Irishman's  Policy,  An  (Rich- 
ardson)        . .        . .         . .  212 

Island  of  Statues  (Yeats) 


Jackdaw,  The  (Lady  Gregory  2B2 
I  Janet  O'Brien  (Robinson)  .  .  207 
I  Jealous  Wife,  The  (Colman)..  107 
j  Jerry-Builder,  The  (Paul)  ..  318 
I  Jerry  Coyne's  Double  ;  or, 
i       The   Dream   in   the  Fairy 

Ring  (O'Connor)      .  .  .'.214 
1   Jilt,  The  (Boucicault).  .         ..  19i) 

I   John  Bull  (Boucicault 's  Ver- 

I       sion )  .  .        .  .         .  .  ..195 

I   John  Bull  (Colman)    .  .        .  .  173 

!   John  Bull's  Other  Island,  etc. 

(Shaw)   211 

j   Jokers,  The  (O'Donovan)     .  .  280 
!   Journey  to  Bristol  ;    or.  The 
'       Honest     Welshman  Farce 

(Hippisley)    .  .        .  .        .  .  165 

!   Judy    O'Hara    (Burnett  and 

I       Stanley)   310 


I 

Kate  Kearney  ;   or.  The  Maid 

of  Killarney  (Collier)        .  .  185 
Kate  Kearney  .  .        . .        .  .  198 

Katherine   Kavanagh  (Berin- 

ger)  293 

Kathleen  Mavourneen  ;    or,  a 
Dream  of  St.  Patrick's  Eve 

(Travers)   206 

Kathleen  ni  Houlihan  (Yeats)  249 
Kathleen  O'Neill  (Balfour)  ..  175 
Kathleei  O'Neill,  Ireland  Re- 
deemed ;    or.  The  Devoted 
Princess  (Pepper)    ..  ..179 
Kerry  ;    or,  Night  and  Morn- 
ing (Boucicault)      .  .        .  .    1 75 
Kevin's    Choice  (Wallworth), 
{see  The  Maid   of  Glenda- 
lough). 

Killarney  (Falconer),  {see  Innis- 
f  alien). 


350 


INDEX  TO  PLAYS. 


1 


Killarney  (Weldron).  242 
Killarney ;    or,  The  Maiden's 
Wish  and  the  Fairy  of  the 
Lake  (George)         .  .         .  .  208 
Kincora  (Lady  Gregory)        .  .  261 
King    Brian    Boroihme  ;  or, 
Harlequin  Prince  Roderick 
and  the  Fair  Eveleen,  or  the 
Banshee  of  Kincora.  .        .  .  204 
King's  Monkey,  The  ;   or,  Pat 

and  the  Potatoes  .  .  .  .  191 
King  O'Xeill  ;    or.  The  Irish 

Brigade  (Gore)        .  .        .  .  183 
King  O 'Toole's  Goose,  His  Six 
Sons  ;     or.    Harlequin  Fin 
M'Coul  and  the  Fairies  of 

Glendalough  222 

King  O'Toole's  Goose  and  the 
Legends  of  Glendalough  (Ir- 
win)  199 

King  Henry  V.  (Shakespeare)  160 
Kittie  (Butler)  .  .        .  .  260 

Kitty's  Troubles  (Glenville)  .  .  310 
Knight  of  Arva,  The  (Bouci- 

cault)   193 

Knight  of  the  Road,  The 
(French  and  CoUison)        .  .  230 

L. 

Lad    from    Largymore,  The 
(MacManus)  .  .        .  .        .  .  215 

Lad  ofthe  Hills,  The  (O'Keeffe)  171 
Lady  Clancarty  ;   or,  Wedded 

and  Wooed  (Taylor)  .  .  189 

Lady  Frederick  (Maugham)..  286 
Lady  of  Kildare  ;   or.  Married 

in  Mistake  208 

Lady  of  Munster,  The  (see  Per- 
fection) 

Lady  Slavey,  The  (Dance  and 
Crook)   235 

Lancashire  Witches,  The  (Shad- 
well)   163 

Land,  The  (Colum)     . .        . .  265 


Land  Hunger,  llie  (O'Dwyer)  299  \ 
Land  of  Heart's  Desire,  The  i 

(Yeats)    248  I 

Last  Feast  of  the  Fianna,  The  I 

(Milligan)   253  : 

Last  Irish  King,  The  (Russell)  213  i 
Last   of  the  Desmonds,  The  ; 

(Milligan)   253  j 

Last    of   the    O'Learys,    The  | 

(Fahy)  .  .        .\        .  .  207  , 

Last  of  the  O'Rourke's,  The  ;  ^ 

or,  It's  Only  My  Cousin  .  .  204  ] 
Last  Warriors  of  Coole,  The  ^ 

(M'Swiney)   303  ^ 

Latest  from  New  York  (Coyne)  199  j 
Laying  of  the  Foundations,  The  \ 

(Ryan)    258  ^ 

Leaders  of  the  People  (Harding)  289  i 
Leading  Road  to  Donegal,  The  \ 

(MacManus)  216  j 

Leaguers    and    Peelers  (Mit- 
chell)  316 

Leap  Year  in  the  West  (Red-  j 

mond)   290 

Leaves  of  Shamrock  (Sullivan)  230  i 
Lepracaun  ;  or,  The  Lovers  of  \ 

Tara  Vale  (Levey)  . .        .  .  210 
Lepracaun,  The  .  .        .  .  284  j 

Lesson  of  Life,  The  (Robinson)  292  i 
Levite,  The  (Murray)  .  .  .  .  295  ; 
Life    in    Dublin  ;     or,    Tom,  • 

Jerry,  and  Logic  on  their  j 

Travels  (Egan)  . .  . .  183  j 
Life  in  the  Clouds  (Brougham)  187  [ 
Life  We  Live,  The  (Mackey  and  j 

Denbigh)    229  j 

Lily  of  Killarney,  The  (Oxen- 
ford  and  Benedict)  .  .        .  .  204  , 
Link  o'  Gold  (Capel)  . .        . .  223  ' 
Little  Cowherd  of  Slainge,  The  I 

(Campbell)   277  ^ 

London  Arab,  A  .  .  . .  255  \ 
Long  Strike,  The  (Boucicavilt)  195  ] 
Lord    of   Carrigogunnel,    The  * 

(Oxenford  and  Bozzelli)    . .  304  ^ 


INDEX   TO  PLAYS. 


351 


Lord  Dunnohoo  (Redgrave  and 

Turner)    240 

Lord  Edward  ,   or,  '98  (Whit- 
bread)    224 

Lord       Edward  Fitzgerald 

(O'Brien)    190 

Lost  Heir,  The  (Alfred)         .  .  297 
Lost  Saint,  The  (Lady  Gregory)  265 
Lost  Ship,  The  ;  or.  The  Ameri- 
can Steamer  .  .        .  .        .  .  191 

Love  a  la  Mode  (Macklin)      .  .  167 

Love  and  Law  (Edgeworth)  .  .  175 

Love  Charm,  The  (Boyle.)     .  .  280 

Love  in  a  Cottage  (Hood)    .  .  274 
Love  in  a  Camp  ;  or,  Patrick  in 

Prussia  (O'Keeffe)   .  .        .  .  171 

Love  is  the  Conqueror  ;  or. 

The  Irish  Hero        .  .        .  .  167 

L.  S.  D   228 

Lucky  Stone,  The       .  .        .  .  216 

M. 

MacCarthy's  Troubles  (Vernon 

and  Tours)  310 

MacCarthy   More  ;    or,  Nine 

Points  of  the  Law  (Lover).  .  178 
McDaragh's  Wife  (Gregory)  .  .  264 
McFadden's  Flats  .  .  .  .  227 
McKenna's  Flirtation  (Selden)  234 
Maeve  (Martyn)  .  .        .  .  252 

Magic  Sieve,  The  (Hamilton).  .  276 
Magnanimous  Lover,  The  (Er- 

ving)  310 

Maid    of    Glendalough,  The 

(Wallworth)  221 

Major  M'Fee,  M.P.  (Allan)  .  .  300 
Man  and  Superman  (Shaw)  .  .  271 
Man  and  Wife  .  .        .  .        .  .  192 

Man's  Foe,  A  (O'Cuisin)  .  .  257 
Man  in  the  Moon,  The  ;  or, 
Dan  O'Rourke  and  the  Eagle, 
Harlequin  O'Donoghue  of  the 
Lakes  and  the  Leprechauns 
of  the  Fairy  Valley  (Dacre) . .  216 


Man  Who  Missed  the  Tide,  The 

(Casey)   288 

Manners  Masketh  Man  (^EcSwi- 

ney)  304 

Marks  and  Faces  (Reade  and 

Taylor)   197 

Marriage,  The  (Lady  Gregory)  264 
Marriage   of  Julia  Elizabeth, 
The  (Stephens)        .  .        .  .  317 

Matchmakers,  The  (O'Kelly)..  286 
Matchmakers,  The  (Wheeler)  284 
Maureen-na-Laveen  (Cooke)  .  .  239 
Mavoureen       .  .         .  .        .  .  234 

Mayor  of  Galway,  The  (Tighe)  303 
Mayor  of  Rochester,  The  (Mon- 

crieff)   186 

Meagher  of  the  Sword  (AKred)  297 
Memory  of  the  Dead  (Markie- 

vicz)  303 

Mephistopheles  ;  or.  The  Yan- 
kee  199 

Mere  Coupable,  La  (The  Guilty 

Wife),  (Beaumarchais)  .  .  166 
Message,  The  (Pearse)  .  .  302 

Mickey  Free  (Wilton).  .  .  .  320 
Milesian,  The  (Jackman)  .  .  170 
Milesian,  The  (McDermott)  .  .  168 
Mineral  Workers,  The  (Boyle)  279 
Minstrel  of  Clare,  The  (Marsden)  236 
Mills  of  God,  The  (MacLough- 

lin)  309 

]Miracle    of    the    Corn,  The 
(Colum)        ..        ..  ..266 

Misfortunes    of    Arthur,  The 

(Hughes)   160 

Miser's  Matchmaking,  The  .  .  278 
Miss   Decima    (Burnand  and 

Andrew)   231 

Miss  Eily  O'Connor  (Byron)..  203 
Miss  Elizabeth's  Prisoner  (Ste- 
phens and  Swete)  .  .        .  .  277 
Mist  that  does  be  on  the  Bog, 

The  (MacNamara)  .  .  .  .  298 
Mixed  Marriages  (Ervine)  .  .  309 
Modern  Ireland  (Segar)         .  ,  229 


352 


INDEX  TO  PLAYS. 


Molly  Moriarty(Sedwick)  ..  320 
Money  at  a  Pinch  ;    or,  The 

Irishman's  Frolics  (Robson)  172 
More  Blunders  than  One  (Rod- 
well)   170 

More  Sinned  against  than  Sin- 
ning (Carleton)        .  .         .  .  320 
Moyna-a-Roon  ;   or,  The  Rap- 
par  ee  Bride  (Levey)  .  .  210 
M.P.  ;   or,  The  Blue  Stocking 

(Moore)   174 

Mr.  Blarney  from  Ireland  (Bla- 

ney)    .  /   284 

Mr.  Sheridan  (Ulgar)  .  .  .  .  276 
Mrs.  Hilary  Regrets  (Smith).  .  233 
Muldoon's  Picnic  (Pleon)  .  .  223 
Murphy's  Affinity  .  .  .  .  392 
My  Friend  in  the  Strips  .  .  197 
My  Irish  Molly  .  .  .  .  323 
My  Jealous  Partner  (Gardi- 
ner)  309 

My  Lady  Molly  (Jessop  and 
Jones)  .  .        .  .        .  .  256 

My  Native  Land  (Manning)  .  .  231 
My  Soldier  Boy  (Maltby  and 
Linds)   242 

N. 

Naboclish,  (Moylan)   .  .        .  .  298 

Naming  of  Cuchulain,  The  (Fer- 
guson) .  .        .  .        .  .  307 

NationaUst,  The  (Whitbread)  224 
Nation  Builder,  The  (O'Lough- 

lin)  278 

Nativity,  The  (Lady  Gregory)  265 
Neale  O'Neil  (Sidney).  .  .  .  211 
Nervous  Man  and  the  Man  of 

Nerve,  The  (Bernard)  .  .  182 
New  Inn,  The  ;  or,  The  Light 

Heart  (Jonson)        .  .        .  .  161 
New    Lights    (see    The  Irish 
Tutor). 

Ninety-eight  ;  or,  Faugh-a-Bal- 
lagh  (Cooke)  ^.  .        .  .  209 


Ninth  Statue,  The  .  .  .  .  175 
No.  18,  College  Green,  Dublin 

(Boucicault)   179 

No  Irish  Need  Apply  .  .        .  .  19S 

Norah  Creena  .  .        .  .        .  .  219 

Norah  O'Neal  (Travers)        ..  216 

Norah's  Vows  (Boucicault)    .  .  195 

Northern  Insurgent  (Bourke)  305 

O. 

Oath,  The  (MacManus)  , .  276 
O'Connell  Tableaux    ..  ..213 


"  O'Donnell  Aboo  "  (Stanhope)  212 
O'Donnell's  Cross  (McManus) .  .  287 
O'Donoghue  of  the  Lakes  and 

the    Leprechaun  ;    or,  The 

Good  Little  People  (Howard)  188 
O'Donoghue  of  the  Lakes,  The 

(Groves)   180 

O'Donoghue's    Warning,  The 

(Falconer)     .  .        .  .        .  .  203 

O'Dowd,  The  (Boucicault),  {see 

Daddy  O'Dowd). 
O'Dowd's  Neighbours  . .  230 

O'Flaherty,  The  (Falconer)  .  .  203 
O'Flannigan   and  the  Fairies 

(Power)   184 

O'Flynn,  The  (McCarthy)  ..  301 
O'Grindles,  The  (Esmond)  ..  289 
Omadhaun,  The  (Boucicault)  195 
O'Holligan's  Holiday  (Boque)  235 
Oisin  in  Tir-na-nOg  and  Oisin 

and  Padraic  (Milligan)  .  .  253 
Oisin  the  Hero  {see  Cuchulain) 
Old  Carlisle  Bridge  (Smyth)..  204 
Old  Fortunatus  (Decker)  .  .  160 
Old  Land,  The  (Johnstone)  .  .  269 
Old  Soldiers  (Byron)..  ..  202 
Oliver  Goldsmith  (Moore)  .  .  233 
Oliver  Goldsmith  (Thomas)  .  .  255 
Omadhan,  The  (Grattan)  .  .  185 
Omnibus  (Pocock)  .  .  .  .  179 
On  Baile's  Strand  (Yeats)    .  .  250 


IXDEX  TO  PLAYS. 


353 


One    Hundred    Pound  Note 

(Peake)   178 

One  Hour  ;    or,  The  Carnival 

Ball  (Bavly)  179 

O'Neal  the  Great  .  .  .  .  322 
On  Shannon's  Shore  ;  or,  The 

Blackthorn  (Cooke).  .  ..  210 
On  the  Frontier  .  .  .  .  229 
On     the     King's  Threshold 

(Yeats)   250 

On  the  Shores  of  the  Shannon 

(Clark)   302 

On  the  Telegraph  Pole  (Neil).  .  318 
Onus  of  Ownership,  The  (Cor- 

kery)  294 

Ony-na-Pocha  ;     or,    Ony  of 

the  Fairies  (Connor).  .  .  .  214 
Oonagh  ;    or.  The  Lovers  of 

Lisnamona  (Falconer)  . .  203 
Orange  and  Green  (MacManus)  276 
Orphan  Boy,  An  (O'Kelly)  .  .  300 
Our  Irish  Visitors  .  .  .  .  243 
Outcasts  of  Dublin  ;  or.  Weeds 

and  Flowers  of  Erin .  .  .  .  302 
Outlaws,  The  (O'Grady)  .  .  220 
Out  of  Deep  Shadow  (Day)  .  .  314 
Over  the  Stile  (Pearse)         . .  303 

P. 

Paddy  Carey  ;  or,  The  Boy  of 

Clogheen  (Power)  .  .  .  .  184 
Paddy  Miles,  the  Limerick  Boy 

(Pilgrim)  "^.186 

Paddy  the  Piper  .  .  .  .  200 
Paddy  the  Porter  .  .  .  .  191 
Pagan,  The  (Purcell)  .  .  . .  272 
Paid  in  his  Own  Coin  (Moylan)  298 
Parting  of  the  Ways,  The  .  .  292 
Passion  Play,  A  (Pearse)  .  .  309 
Pat  (Roberts  and  Monkhouse)  232 
Pat  Among  the  Fairies  .  .  319 
Pat  and  the  Genii  .  .  .  .  292 
Pat  in  Japan  ;  or,  The  Aban- 
doned L^ishman      . .        . .  188 


Pat  Mailer's  Temptation  (Pur- 
cell and  Doran)  .  .  .  .  316 
Pat  of  MuUingar  (Fraser)  .  .  209 
Patrick  in  Prussia  (O'Keeffe) .  .  170 
Patrick's  Return  (Byrne)  .  .  172 
Patrick's  Vow  (Fraser)  .  .  208 

;  Patriot  King,  The  ;    or,  the 
;      Irish  Chief  (Dobbs)  .  .  169 

Patriot  Priest,  The  (Staunton)  298 
^  Patriot's  Wife,  The  (Jarman).  .  254 
I  Pat's  Thanksgiving  (Frece)  .  .  208 
i  Pat,  the  Irish  Lancer.  .  .  .  227 
Pearl  Darrell  (Wilton).  .  ..  222 
;  Peep  o'  Day  ;  or,  Savourneen 
;  DeeHsh  (Falconer)  .  .  .  .  202 
1  Peg  the  Rake  (Rita)  .  .  .  .  239 
i  Peg  Woffington  (Boucicault).  .  194 
j  Peggie  Machree  (Bidwell  and 

Esposito)   277 

!  Peggy  (Mackay)         .  .        .  .  218 
i  Peggy  Doyle  (Hillier)..        ..  290 
I  Penalty  of  Crime,  The  (Gilbert)  239 
i  Perfection  ;  or,  The  Lady  from 
I      Munster  (Bayly)      .  .        .  .  179 
Peter  Williams'^.  ^        .  .        .  .  186 
Petticoat  Paddy  ;  or,  The  Irish- 
man and  his  Seven  Sweet- 
hearts 192 

Phadrig,  the  Bocaun  (Werner)  216 
Piedish,  The  (Fitzmaurice)  . .  285 
i  Pike    O'Callaghan  ;     or,  The 

Irish  Patriot  (Reeve)  .  .  206 
Pious  Dublin  (Hickey ) .  .  .  .  298 
Piper,  The  (Connell)  ..  ..291 
Pish  O'Pogue  (Lord)  ..  ..213 
Placehunter,  The  (Martyn)  . .  252 
Playboy  of  the  Western  World, 

The  (Synge)  268 

Playing  with  Fire  (Brougham)  189 

Plot,  The   309 

Plotting  Lovers,  The  ;  or,  The 

Dismal  Squire  (Shad well ).  .  164 
Poorhouse,    The    (Hyde  and 
Lady  Gregory)        . .        . .  262 


z 


354 


INDEX   TO  PLAYS. 


Poor  Parisheen,  The  ;  or,  Tlie 
Fugitives      of  Derrinane 

(Howe)   207 

Poor  Soldier,  The  (O'Keeffe).  .  171 
Poor  Strollers,  The  (Phillips).  .  200 
Post  bag,  Tl  ie  (Grav(  s  and  Es- 
posito)  . .        . .        .  .  258 

Postheen  Pliensi,  The  (Grover)  198 
Pot  of  Broth,  A  (Yeats)        .  .  249 
Potatoes  and  Point  {sec  The 
Wliite  House  of  the  Peppers) 
Poiil-a-Dhoil    .  .        .  .        .  .  218 

Press  Cuttings  (Shaw).  .        .  .  271 

Presumptive  Evidence  ;  or, 
Mirder  Will  Out  (Buck- 
stone)  180 

Pride  of  Life,  The  .  .  .  .  159 
Priest  Hunter,  The  (O'Grady)  220 
Princess  Clementina,  The  (Play- 
dell  and  Mason)  .  .  .\  302 
Princess  of  Meath  .  .  .  .  322 
Pro  Patria  (Redmond)  .  .  290 

Pike  O'Callaghan 


Q. 

Queen  of  Connaught,  The    .  .  216 
Queen's  Own,  The  ;   or,  Irish 
Promotion  (see  The  Dumb 

Wife)  

Queen's  Shilling,  The  (Godfrey)  217 
Queer  Subjects,  The  ..  ..186 
Quiet  Rubber,  A  (Coghlan)  ..  213 


R. 

Racing  Lug,  The  (O'Cuisin)  . .  257 
Rapparee;  or.  The  Treaty  of 

Limerick       .  .        .  .        .  .  195 

Rapparee,  The  (O'Loughlin) .  .  288 
Rag,   (Downey)         .  .        .  .  301 

Rebellion  Defeated  ;    or,  The 

Fall  of  Desmond  (Cutts)    . .  165 


Rebel  and  Redcoat  (Robinson)  298 
Rebels,  The  (Fagan)  .  .        .  .  254 
I  Rebels,  The  ;  or.  The  Irish  In- 
!      surgent     Chiefs     of  1803 

(O'Boylan)  322 

Recollections  of  O'Flannagan 
and  the  Fairies,  A  (Broug- 
ham)  189 

I  Red  Fox,  The  (O'Connell)    .  .  221 
1  Red  Hugh  (Russell)    .  .        .  .  273 

i  Red  Turf  (Mayne)      .  .        .  .  283 

I  Reformers,  The  (Purcell)      .  .  272 
;  Rehearsal,  The  (Redmond)  ..291 
!  Regan -na-Glenna  (Addersley)  216 
j  Register  Office,  The  (Reed)*^  .  .  167 

Rehearsed  ;    or,  Barry's  Old 
j      Man  (Rickey  and  Barney).  .  321 
!  Relief  of  Lucknow,  The  (Bou- 
I      cicault)         . .        .  .        .  .  194 

!  Remedy,  The  (Wliite). .        ..  308 

Renegade,  The  (O'Hare)       . .  270 
Rent  (Manning)  .  .        .  .  218 

Rent  Warner,  The  (O'Connor)  222 
Repertory  Theatre,  The  (Howe) 
Rescued  (Boucicault).  .        ..  194 

Resurrection  of  Denny  O'Dowd, 

The  (:McManus)     \.        . .  275 
Return  of  Lugh,  The.  .        .  .  295 

!  Returned  Killed  (Planche)  ..  178 
i  Review,  The  ;   or,  The  Wags 

I      of  Windsor  186 

!  Ride  for  Life,  A  . .  . .  218 
Riders  to  the  Sea  (Synge)  .  .  262 
Rising  o'  the  Moon,  The  (Rans- 

ley)  288 

Rising  of  the  Moon,  The  (Lady 

Gregory)   262 

Rivals,  The  (Sheridan)  ..  169 
Rival  Stars  (Markievicz)  . .  303 
Robber's  Wife,  The  .  .  .  .  179 
i  Robert  Emmet  (Boucicault)..  196 
i  Robert  Emmet,  the  Irisli  Pa- 
i  triot  of  1803  (Eraser)  .  .  209 
I  Robert  Emmet  (Council) 
I  Robert  Emmet  (Digges)       . .  218 


INDEX  TO  PLAYS. 


355 


Robert  Emmet  (Pilgrim)  . .  186 
Robert  Emmet  (Clarke)  .  .  322 
Robert  Emmet  (Marshall)  .  .  218 
Robert  Emmet  (Gwynn)  .  .  277 
Robert  Emmet  (Cunningham)  321 
Robert  Emmet,  the  Irish  Mar- 
tyr (O 'Sullivan)  .  .  . .  204 
Robert  Emmet  ;  or,  The  Days 

of  1803  (Tj-nan)      .  .        .  .  259 
Rogue  Riley  ;    or,  The  Four- 
Leaved     Shamiock  (Mat- 

F  thews)   238 

Rollicking  Rory  {see  The  Fairy 

Circle)   

Romance  of  Athlone,  A  (Pitou)  236 
Romance  of  the  Irish  Stage, 

(Molloy)   

Rory  O'More  (Lover)  .  .  .  .  177 
Rory  O'More  (Whitbread)  .  .  225 
Rosaleen  Dhu  ;  or,  The  Twelve 

Pins  of  Bin-a-Bola  (Denver)  281 
Rose  of  Rathboy,  The  (Fit  i- 

gerald)   243 

Rose,  Thistle  and  Shamrock, 

The  (Edgeworth)     .  .        .  .  175 
Rotheric    O'Connor,  King  of 
Connaught  ;    or,   The  Dis- 
tressed Princess  (Shadwell)  164 
Round  Tower,  The  ;    or,  The 
Chieftains  of  Ireland  (Cross) 
Royal  Voyage,  The  ;   or,  The 

Irish  Expedition      .  .        .  .  163 
Rustic  Rivals  (Guinan)       236,  315 
Russian  Sacrifice,  The  ;  or.  The 
Burning  of  Moscow  (Code). .  174 


S. 

St.  Patrick  and  the  Golden 
Shamrock  ;  or.  Harlequin 
and  the  Sleeping  Beauty   . .  183 

St.  Patrick  at  Castl^knock 
(Campbell)  280 


St.  Patrick's  Day ;  or,  The 
Scheming  Lieutenant  (Sheri- 
dan)  170 

St.  Patrick's  Eve  (Power)    .  .  185 
St.  Patrick  for  Ireland  (Shirley)  162 
St.  Patrick's  Purgatory  (Calde- 
ron)    .  .        . .        .  .        .  .  197 

Saint  Stephen's  Green  ;  or, 
The  Generous  Lovers  (Phil- 
lips)  164 

Sally  Cavanagh  ;  or,  a  Tale  of 

Tipper ary  (Mansfield)  .  .  207 
Sarsfield  (Whitbread)  .  .  .  .  225 
Saxon  Shilling,  The  (Colum)..  265 
School  for  Wives  (Kelly)  .  .  169 
Sea  Swan,  The  (Chesson  and 

Butler)   270 

Serious  Family,  Tha  (Barrett)  197 
Shadowy  Waters,  The  (Yeats)  250 
Shadragh  the  Hunchback  (W^il- 

liams)  216 

Shaft  No.  2  240 

Sham  Squire,  The  (WTiitbread)  225 
Shamrock  and  the  Rose,  The 

(Rejmolds)  229 

Shamrock,  The  ;  or,  The  Anni- 
versary of  St.  Patrick 
(O'Keeffe),    (see   The  Poor 

Soldier)   170 

Shamrock    of    Ireland,  The 

(Howe)   206 

Shamrocks  (Manning)  .  .  218 

Shamus   O'Brien,   the  Bould 
Boy  of  Glengall  (Maeder  and 
Vernon)        .  .        .  .        .  .  239 

Shandy    Maguire  ;     or.  The 

Bould  Boy  of  the  Mountains  200 
Shandy   the   Spalpeen  (Hay- 
ward)   216 

Shane  the  Proud  (Boyle)  ..  278 
Shane-na-Lawn    (Roach  aiul 

Knox)   228 

Shannon  Boys  (Burko,  jun.)-.  '^20 
Shaughraun,  The  (Boucicault)  19.") 


356 


INDEX  TO  PLAYS. 


Shawn  Long  and  the  Fairies  j 

(Kertland)  184  I 

Shawn  O'Dhuv  (Murphy)     .  .  221  ! 
Shebeen,  Tlie  (Harvey)        .  .  230 
Sheelah's  Day  ;    or,  Erin  Go 

Braugh  (Lyon)  .  .  .  .  174 
Sheila's  Dilemma  (Waters)  .  .  309 
Shemus  !  (The  Spy  of  the  Glen)  258 
Shemus-na-Lena  ;  or,  The  Spei- 

dor  (Towers)  214 

Shemns  O'Brien  (Stanford  and 

Jessop)   236 

Sherlock  Holmes  (Gillette  and 

Doyle)   243 

Shindy     in     a     Shanty,  A 

(O'Grady)  219 

Shin  Fain  ;  or,  Ourselves  Alone 

(Cleary)   221 

Shingawn,  The  ;    or.  Old  Ire- 
land's   Shamrock    has  not 

Withered  yet  (Sterling)    .  .  207 
Shoulder  to  Shoulder  (Wliit- 

bread)   224 

Shuiler's  Child,  The  (O'Kelly)  287 
Siege  of  ^Limerick,  The  (Barry)  204 
Silken  Thomas  ;  or,  St.  Mary's 

Abbey  (Bibby)        . .        . .  201 

Sigrid  (Tarpy)  284 

Skull,  The  (McGloughlin)    ..  308 
Sleep  of  the  King,  The  (O'Cui- 

sin)  257 

Smock  Alley  Secrets  ;  or.  The 

Manager  Worried  (Le  Fanu)  170 
Snare,  The  (Royal)  ^  .  . .  323 
Socalists,  The  (Letts)..        ..  286 

Soggarth,  The  228 

Soggarth  Aroon  (Coleman)    . .  241 
Soggarth  Aroon,  The  (McLoren)  314 
Sold  (O'Cuisin).  .        . .        . .  257 

Soldier  of  Fortune,  The  ;  or. 

The  Irish  Settler  .  .  .  .  205  I 
Sons  of  Erin,  The  ;  or.  Modern 

Sentiment  (Mrs.  Le  Fanu). .  174 
Sons  of  Erin  (Patmore)       . .  235 


Spalpeen,  The  (Brahain)  .  .  212 
Spaniard  and  Siorlamh,  The 

(Fitzgerald)  .  r       .  .        .  .  174 
Spectres  of  the  Past,  The  ;  or, 
Homeless  in  the  Streets  of 
Dublin  (Wliitbread)  .  .  224 

Spell,  The  (Langbridge),  (Inci- 
dental  Music    by  Norman 

O'Neill)   284 

Sponge,  The  (Moylan)  .  .  299 

Sprissaun,  The  (Reynolds)  ,  .  229 
Spreading    the    News  (Lady 

Gregory)   260 

Spurious  Sovereign,  The  ;  or. 
Nailed     to     the  Counter 

(J.  O.  E.)  300 

Spy  of  the  Glen,  The  ;  or,  The 

Patriot's  Return  (Allen)  .  .  300 
Stella  and  Vanessa  (Graves)  .  .  293 
Stephen  Gray  (Kelleher)  .  .  299 
Stepmother,  The  (Tynan)  .  .  293 
Storm,  The  (Barden)  .  .  . .  299 
Strathlogan  (Overton  and  Moss)  233 
Strongbow  ;  or,  The  Bride  of 
the  Battlefield  (French  and 

CoUison)   230 

Struck  (O'Leary)  ..  ..301 
Suburban  Groove,  The  (Casey)  288 
Suil  Dhuv  the  Coiner  (Dibdin)  182 
Sumachaun,  The  (Connor)  .  .  214 
Sun  God,  The  (McManus)  .  .  287 
Susannah  and  the  Sovereigns 

(Purcell  and  MacNamara)..  272 
Suspect's  Daughter,  The  ;  or. 

The  Rose  of  Ballymahon  .  .  219 
Swift  and   Vanessa  (Bartho- 


leyus) . .        . .        .  .  . .  274 

Swaddler  (Griffith)      .  .  . .  168 

Sweet  Innisfail  (Reynolds)  .  .  229 

Sweet  Innisfail. .        ,  .  .  .  295 

Sweet  Inniscarra  (Pilton)  .  .  235 

Sweet  Lavender  (Pinero)  . .  227 


Sword  of  Dermot,  The  (O'Cui- 
sin)  257 


INDEX  TO  PLAYS. 


357 


T. 

Tale  of  a  Town,  Tlio  (Martyn)  252 

Tara  (Glover)  213 

Teacher  from  Fairyland,  The 

(Ryan)   306 

Teague's  Ramble  to  London.  .  168 
Teddy  the  Tiler  (Rodwell)  .  .  176 
Teig  Corcoran's  Courtship  (Gre- 

gan)  307 

Temptation  (Brougham)  .  .  189 
Terence  (Croker)  .  .  .  .  29() 
Terence  (Morgan)  .  .  .  .  270 
Terry  ;   or,  True  to  his  Trust 

(Vane)   232 

That  Rascal  Pat  (Grover)    .  .  198 
Theobald  Wolfe  Tone  (Whit- 
bread)  . .        . .        . .  225 

Thierna-na-O-go;  or,  The  Prince 

of  the  Lakes  (Cooke)         .  .  179 
Thomas  Muskerry  (Colum)  .  .  266 
Through  Death   Valley ;  or. 
The     Mormon     Peril  (La 

Brandt)   318 

Tim  Carthy's  Trial  .  .  .  .  322 
Timothy  Ryan's  Return  (New- 
ton and  Hoffman)  .  .  .  .  321 
Tight  Irish  Boy,  The  .  .  .  .  172 
Tinker's  Wedding,  The  (Synge)  268 
Tinker   and   the   Fairy,  The 

(Hyde)   259 

Tipperary  Legacy,  The  (Coyne)  186 
To  the  Green  Isles  Direc';  (Ak- 

hurst)  211 

Tom  Cobb  ;  or,  Fortune's  Toy 

(Gilbert)   ".212 

Tom  Moore  (Walsh)  .  .  .  .  281 
Tom  Moore  (Sayre)  .  .  .  .  239 
Townland    of    Tamnay,  The 

(MacManus)  275 

Toy  Part,  The  (Cronan)  .  .  308 
Tragedy  of  Truth,  The  {see  The 

Spell)   

Trail    of    the    Serpent,  The 
(Markham)    .  .        .  .        . .  277 


Transformation  of  Fionn,  The 

(S.  O'Grady)  256 

Travelling   Man,    The  (Lady 

Gregory)   263 

Trilby  (Potter)  236 

Trinity    Student,    Tiie  (Mul- 
doon) . .        . .        . .        . .  314 

Trip  to  Chicago,  A  (Sheridan 
and  Haydon)  .  .        .  .  237 

Tristram  and  Iseult  (Carr)  .  .  280 
Tristram  and  Isolda  (Wagner)  205 
Triumph  of  Maevc  (Gore  Booth)  316 
Trooper  Hunt's  Widow  (Jar- 
man)  .  .        .  .        .  .        .  .  254 

Troth,  The  (Mayne)    .  .        .  .  282 

True-born  Irishman,  The  (Ste- 
vens) . .        . .        . .        . .  166 

True-born      Irishman,  The 
(Macklin),    {see    The  Irish 
Fine  Lady)  .  .        .  .        .  .  167 

True  So.i  of  Erin,  A  {see  The 

Nationalist)  .  . 
Trust  to  Luck  (Clarke)        .  .  232 
Turn     of     the     Road,  Tha 

("Mayne  ")  282 

Ttu-n  of  the  Tide,  The  (Cousins)  258 

Tiu-tle  Doves  223 

Twenty-five  (Lady  Gregory)  .  .  260 
Twin  Rivals,  The  (Farquhar) .  .  163 
Twinkle  in  Ireland's  Eye,  A 

(Ryan)   274 

Twisting   of   the   Rope,  The 

(Lady  Gregory)  .  .  .  .  264 
Two  to  One  (Clements)        . .  208 

U. 

Ulster  Hero,  The  (Whitbread)  225 
Uncle  Pat  (Moylan)  .  .  .  .  299 
L^nicorn  from  the  Stars,  The 

(Lady  Gregory  and  Yeats),  25 1 
Up  for  the  Green  (Mac^Ianus)  298 

V. 

Victorian   Cross,   The  (Whit- 
bread)  2J1 


358 


INDEX   TO  PLAYS. 


Wager,  The  (Lancasto)  .  .  188  j 
Waiting  Game,  The  (Tearle).  .  311  i 
Wakeof  the  People,  The  (Ryan)  306  | 
Warden     of     Galway,     The  | 

(Groves)   180  | 

Wearing   of   the   Green  ;    or,  < 

The  Lover's  Leap  (Downey)  215  . 
Wearin'    o'    the    Green,    The  I 

(Howard  and  Mackey)  .  .  238  ; 
Wearing  of  the  Green  (Howard)  238  | 
Wearing   of   the   Green,   The  ; 

(Weldon)   212  j 

Wearin'  o'  the  Green,  The  (Mat-  | 

thews)    238  i 

Wearing  of  the  Green,  The  .  .  222  j 
Well  of  the  Saints,  The  (Synge)  267  j 
West's  Awake,  The -(Muldoon)  3U  | 
West  Briton's  Romance,  The  , 

(Lowry)    305  i 

West  End  {sec  The  Irish  Heiress)  ] 
West  Indian,  The  (Cumberland)  168  | 
W^est  Wind,  The  (Kelly)  .  .  317  | 
Wexford  (Conyers)  .  .  .  .  228  j 
Wexfo  d  Wells  (Concannon) .  .  164 
What  a  Bkmder  (Hohnan)  .  .  173  I 
What   Happened    to   Hooley  | 

(Conyngham)  .  .        .  .  242  ! 

Wliat  News  from  Bantry  Bay  ?  | 

(McLaren)     .  .        .  .        .  .  175  i 

"  Wliat  the  Butler  Savr  (Parry 

and  Mouillot),  {sec  While  the  ! 

Cat^s  Away)   278  ; 

What  the  Public  Wants  (Ben- 
nett)  296 

Wheel  o' Fortune,  The  (Mm-ray)  295 
WTien    the    Dawn    is  Come 

(MacDonagh)  ..  ..293 

Wnien  Wexford  Rose  (Bourke)  305 
Wlien  Wexford  Rose  (Kehoe)  311 
Wliere  There  is  Nothing  (Yeats)  251 
WTiite   Boys   of   Kerry,  The 

(Grattan)  185 


White   Boys,   The  (Grattan), 
(see  The  Rebel  Chief)        .  .  185 

White  Cockade,  The  (Lady 
Gregory)   261 

Wliite  Devil,  The  (Webster)..  161  - 

mite  Feather,  The  ("Ray")  297 

White  Horse  of  the  Peppers, 
The  (Lover)  177 

White  Quaker,  The  ;  or,  Tlie 
Villa-ge  Alarmist     .  .        .  .  191 

VTno  do  they  take  mo  for  ? 
(Morton)   193 

Whore  of  Babylon,  The  (Decker)  160 

W^icklow  Gold  ]Mines  {see  Wick- 
lovv  Mountains)       .  .        .  .  171 

Wicklow  [Moimtains  ;  or.  Gold 
in  Ireland  (O'Keefie)        ..  171 

Wicklow  Rose,  The  (Reece  and 
Allen)  222 

Widow's  Curse,  The  (Hogan). .  314 

Widow  Dempsey's  Fiuieral, 
The  (Grattan)         .  .        .  .  176 

Wild  Irish  Boy,  The  (H. 
O'Grady)   220 

Willy  Reilly  (Brady)  .  .        .  .  211 

Willy  Reilly;  or,  The  Fair 
Lady  of  Boyle  (Coyne  and 
Whit  bread)  278 

Willy  Reilly  202 

Wife  Well  Managed,  A  (Cent- 
livie)  . .        .  .        .  .        . .  164 

With  the  Wild  Geese  (Harty ) . .  305 

Wizard  of  Wicklow  ;  or.  Harle- 
quin and  the  Magic  Ladder 
(Pitt)  ..       •  191 

Wooing  of  Emer,  The  (MacSwi- 
ney)  304 

Woman  of  Seven  Sorrow-,  The 
(Macmanus)  .  .        .  .        .  .  275 

W^orklaouse  AVard,  The  (Lady 
Gregory),  (see  The  Poor- 
house) 

Wren  Boys,  The  ;  or  The 
Mount  of  Peril  (Wilks)  187 


VI.— INDEX  TO  PLAYS  (AUTHOliS). 


A 

Benedict  (Sir  Jules)         . . 

201 

Bennett  (Arnold)    . .        . , 

2  [(') 

293 

JDHiJrvJN  AKD   ^  VV  .   XJ-)           •  .             •  • 

1  82 

BiBBY  (Thomas)        .  .        . . 

20  1 

AtvKTTrcjt           4    V  \ 

^i-  iVil.  UxvoX   ^  V  V  •   ^  1..    V  .  y     .  .              .  . 

21  1 
^11 

Bid  WELL  (Patrick)    . .        . . 

97  7 

xXl-iJ:  Xv  ild  LJ    \  J-i  ^    Jj  •  J                     •  .                .  . 

9()7 
—  o  I 

Birmingham  (GtEorge  A.)    .  • 

Bishop  (  )  .  . 

223 

\J  IS  U  xJ  U  W  jN  JCi  X             ,  .              ,  , 

Blaney  (Charles  C  )          .  . 

28  t 

Allen  (Irv) 

222 

273 

AT.T.TfNT   iCr     W  \ 

200 

r>yj\jr\jht  \o  '  XV.  ^  .  .          .  .          .  . 

235 

AATWirT»t:T  ( .S    T-T  ^ 

n.i>ixxH(ivox      •  XJ-« )           •  •           .  • 

211 

X)U-i>JJ        Ltii'lirjrs  j             ,  ,             .  . 

241 

I-^ /^/"kiTtr  /  XT' \7' 1    C Lcwt  v  \ 

XJUOXXL  ^^xliVA  VjrOKrj ;       .  ,             .  , 

310 

xjKJ  L  xLitlt  \Kl  KJi^XXyJ  A  X.  j     .  •              •  • 

243 

LORNE             .  .           .  .           ,  . 

XJUorLJCiXiXiXli  ^^O.  Xli.  i'X.  /    •  •             •  • 

193 

AiiTCOT-ri  (^>k   .1  \ 

172 

193 

172 

X-XJUxviviii  yxr.  o.)             .  .           .  . 

305 

Art  ^ 

240 

T^O  VT  TP    (  Wtt  T  T  a  Af  \ 

278 

ir\.OSj.X\JVi    y  Xli  W  Jj-uXvX  1             •  •                •  • 

160 

X^v/^/<JCiX<X(X   ^^OxLr^Uriy          .  .               .  . 

304 

AlTT^TfATJ   (Ti^.  \ 

Jr\.\J  XJlxAvi             /       •  •                •  •                •  • 

23 1 

■RpAr»v  ^Fl    TT  \ 
XjrvAX>  X  yjii,  1: . )  .  . 

219 

2 1  ■» 

xjKAJJ  X   vx:  •  ^ 

211 

X>lvAxlAiJN            /     •  • 

213 

XJKAJNoUjN    ^  VV  .    lO.  ) 

211 

JJ. 

X^lvUJrxx  X  .      OvC        Xv.    X  .    XVA  X 

T-^ T? r»TTr' T-T  ^Wtttt\at\ 

X>xHJUdxl   ^  V  V  IX/XilAxH  j        .  .               .  . 

20  i 

17% 

1 80 

I3ancroft.  Scb  GtEORGe  1*lay- 

Bruske  (Jacque) 

233 

DELL   .  . 

Buchanan  (Robert)  . . 

219 

Barden  (Hugh) 

299 

Buckstone  ( J.  B.  ) 

180 

Barlow  (Jane) 

313 

Burke  (James) 

220 

Barney  (Master) 

321 

Burkhead  (Henry)  .  . 

102 

Barrett  (M.  )  .  . 

197 

BuRNAND  (Sir  Fred  C.) 

231 

Barry  (Rev.  Michael) 

204 

Burnett  (Frances  Hodgson) 

310 

Bartholeyus  (A.  O'D.) 

274 

Burns (Tom)   . . 

304 

Bateman  (Frank) 

238 

Butler  (O  Brien) 

270 

Bayly  (Thomas  Haynes)  . . 

179 

Butler  (Mary  E.  L.  ) 

2(»0 

Baynes  (Eustace) 

312 

Byrne  (M.) 

172 

Beaumarchais  . . 

104 

Byron  (Hi^nry  J.) 

202 

360 


INDEX  TO  PLAYS. 


c. 

Cousins    (James    H.).  See 
Semus  O'Cuisin 

Cahill  (W.  B.) 

209 

Cox  (W^alter) 

176 

Calderon  (  ) 

197 

Coyne  (J.  C.)  

186 

Campbell  (Joseph) 

277 

Coyne  (Sterling) 

199 

Campbell  (Rev.  John) 

289 

Coyne  (Gardiner) 

278 

Capel  (George) 

223 

Creamer  (Auguste)  . . 

212 

Carleton  (William) 

190 

Croker  (Mrs.  B.  M.) 

296 

Carleton  (John  L.)  .  . 

320 

Croker  (Thomas  Crofton) 

178 

Carr  (Joseph  W.  Comyns)  . . 

280 

Cronan  (Dinal) 

308 

Carlyle  (Rita) 

241 

Crook  (John)  . . 

235 

Casey  (W.  F.) 

288 

Cross  (J.  C.)  

173 

Cassidy  (James  Rice)         . . 

238 

Crowne  (John) 

163 

Centliver  (Mrs.  Susannah) 

164 

Cumberland  (Richard) 

168 

Chesson  (Nora  Hopper) 

270 

Cunningham  (Dr.  P.  T.) 

321 

Chute  (J.  C.)  

217 

Cunningham  (F.  J.)  .  . 

242 

Clarke  (C.  A.)          . .  232 

,  302 

Cutts  (J.) 

165 

Clarke  (Joseph  J.  C.) 

322 

Clarke  (Lady  Olivia) 

175 

D. 

Cleary  (Thomas  S.)  . . 

221 

Dacre  (H.) 

216 

Clements  (A.) 

208 

Dance  (George) 

235 

Clive  (Mrs.  Catherine)       .  . 

168 

Darling  (S.  Grenville) 

315 

Code  (H.  B.)   . . 

174 

Davidson  (Anthony) 

320 

CoGHLAN  (Charles) 

213 

Davies  (Hubert  Henry) 

269 

Coleman  (John) 

241 

Dawson  (Charles) 

216 

Collier  (William) 

185 

Day  (Miss  R.  )  . . 

314 

Collins  (J.  P.) 

208 

Dekker  (Thomas) 

1(0 

CoLLissoN  (W^.  Houston)     . . 

230 

Denbigh  (Lewis) 

229 

CoLMAN  (GtEORGe),  the  elder.  . 

167 

Denvir  (John) 

281 

CoLMAN  (George),  the  youngei 

173 

DiBDIN  (T.) 

182 

CoLUM  (Padraic) 

265 

DiBDIN  (C.) 

190 

CoNCANEN  (Matthew)         . . 

164 

DiGGES  (W^EST) 

218 

CONNELL  (NORRYS) 

291 

Dix  (B.  M.)    See  "  Ruther 

"  CoNNELL  "  (Henry) 

270 

rORD  " 

Connor  (Barry) 

214 

DOBBS  (F.)  

.  169 

Conyers  (F.  N.  ) 

228 

DORAN  (F.  G.) 

.  316 

CONYNGHAM  (P.  T.)      .  . 

.  242 

Douglas  (John) 

.  238 

Cooke  (Fred)  . . 

.  209 

Downey  (Edmund)    . . 

.  227 

Cooke  (N.  T.)  

.  179 

Downey  (L.)   . . 

.  215 

Corkery  (Daniel) 

.  294 

Downey  (  )         .  .        . .  301 

Doyle  (Arthur  Conan)     243. 2C6 

CoRRi  (Clarence  C.)  . . 

.  241 

Doyle  (Thomas  F.)   . . 

.  210 

CosTELLO  (Miss. Mary) 

.  237 

Dukes  (Ashley) 

.  306 

Count  (  )  . .        . . 

.  206 

Duncan  (James) 

.  265 

Cowley  (jNIts.  ) 

.  170 

iDuTNELL  (Martin) 

.  210 

INDEX  TO  PLAYS.  361 


E. 

Gillette  (William)  .  . 

243 

GiRALDi  (Giovanni  Battiste). 

Edge  WORTH  (Maria)  . . 

. .  175 

See  "  CiNTHRO  " 

159 

Edwards  (Julian) 

. .  237 

Glengall  (Lord) 

176 

Egan  (Pierce).  . 

. .  183 

Glenville  (Mrs. ) 

310 

Elgar  (Sir  Edward).  . 

.  .  219 

Glover  (Professor)  . . 

213 

Ervine  (St.  John  G.) 

.  .  309 

Godfrey  (G.  W.) 

217 

Esmond  (H.  V.) 

.  .  289 

GOMERSALL  (W.) 

222 

ESPOSITO  (SiGNOR  M.) 

258,  277 

Good  (J.  W.).    See  Robert 

Harding 

Gordon  ( W.  )  . . 

222 

F. 

Gore  (Mrs.  C. ) .  . 

183 

Gould  (Fred  )  . . 

234 

Fagan  (J.  B.)  . . 

.  .  254 

Grange  (A.  Demain) 

255 

Fahy  (Francis  Arthur) 

.  .  207 

Grattan  (H.  p.  ) 

185 

Falconer  (Edmund)  . . 

.  .  202 

Graves  (Alfred  Percival) 

258 

Farquhar  (George)  . . 

.  .  103 

Graves  (Arnold) 

293 

Ferguson  (Sir  Samuel) 

. .  307 

Green  (F.  W.  ) 

216 

Field  (Nathaniel)    . . 

.  .  161 

Greenbank  (Percy)  . . 

256 

Fitzgerald  (Dan) 

.  .  243 

Gregan  (James) 

307 

Fitzgerald  (John  David) 

,  .  201 

Gregory  (Lady) 

260 

Fitzgerald  (Preston) 

.  .  174 

Grey  (Alen)   . . 

239 

FiTZMAURicE  (George ) 

.  .  285 

Griffith  (Amyas) 

168 

FiTZPATRiCK  (Nora)  . . 

.  .  289 

Grover  (J.  Holmes)  . . 

198 

Floyd  (W.  R.) 

.  .  203 

Groves  (Rev.  Edward) 

180 

Forbes  (James) 

.  .  294 

GuiNAN  (John)          .  .      236, 315 

Forbes  (Hon.  Mrs. )    .  . 

. .  233 

GuRNEY  (Edmund) 

230 

Ford  (Joseph).  . 

.  .  282 

GUSTAV  (F.) 

199 

Ford  (John)    . . 

.  .  162 

GwYNN  (Stephen) 

279 

Fox  (Max) 

.  .  273 

Eraser  (Julia  Agnes) 

. .  208 

Frece  (Maurice  de)  . . 

.  .  208 

H. 

French  (W.  Percy)  . . 

..  230 

Haines  (J.  T.)  

181 

Halliday  ( a.  ) .  . 

202 

G. 

Hall  (Mrs.  S.  C.) 

182 

Hamilton  (Henry)    . . 

223 

Gardiner  (R.  ) . . 

. .  309 

Hamilton  (John) 

276 

Garrick  (David) 

169,  209 

Hamilton  (C.  J.) 

321 

George  (G.  H.) 

.  .  208 

Hannay  (J.  O.).  See  George 

German  (Edward) 

.  .  255 

A.  Birmingham 

Gilbert  (Frances)    .  . 

.  .  255 

Hanly  (John) 

304 

Gilbert  (Lady) 

..  280 

Harding  (Robert) 

289 

Gilbert  (Lewis) 

..  239 

HaRTY  (HAMILTO^^ )     . . 

305 

Gilbert  (W.  S.) 

..  212 

Harvey  (F.)    ..        ..  .. 

236 

362 


I^'DEX  TO  PLAYS. 


Haydon  (John  S.) 

. .  237 

Hayward  (A.). .        .  . 

216 

Hay\^'ood  (Thomas)  .  . 

161 

Hazlewood  (C.  H.  )    .  . 

205 

Head  (Richard)        .  . 

163 

HiCKEY  (Patrick) 

.  .  298 

HiLLiER  (Mirabel)     .  . 

.  .  290 

HippiSLEY  (John)      . . 

.  .  165 

HoBSON  (Bulmer)      .  . 

.  .  273 

Hoffman  (A.  S.) 

.  .  321 

Hogan  (Patrick)       .  . 

.  .  314 

Hood  (Captain  Casil) 

255,  274 

HOLMAN  (J.  G.) 

.  .  173 

Howard  (Alfred)     .  . 

.  .  188 

Howard  (Dalton) 

.  .  238 

Howard  (Sir  Robert) 

.  .  163 

Howard  (Walter) 

.  .  238 

Howe  (H.  B.)  • . 

.  .  206 

Howe  (J.  B.)  . . 

.  .  207 

Howe  (J.  J.)  .. 

.  .  50 

Hughes  (Thomas) 

..  160 

Humphries  (Alexander) 

..  300 

Humphreys  (Mrs.  Desmond). 

See  "  Rita  . 

HuRSON  (George  J.)  . . 

.  .  305 

Hyde  (Dr.  Douglas)  259 

,  263,  264 

Hyde  (  )    . . 

..  187 

I. 

Irwin  (Father) 

199,  296 

Ives  (Malcolm  C.) 

..  312 

J. 

Jack:man  (Isaac) 

..  170 

JAR3IAN  (Fred) 

254 

Jay  (Harriet).  . 

.  .  219 

Jessop  (G.  H.).  . 

.  .  256 

Johnstone  (J.  R.) 

..  201 

Johnstone  (Robert)  . . 

.  .  269 

Jones  (Guy)    . . 

..  235 

Jones  (Sidnt:y) 

.  .  256 

JoNsoN  (Ben)  . . 

161 

K. 

Kaenders  (Rev.  P.)  . . 

Kearney  (Peter) 

306 

I^jehoe  (P.) 

311 

Kelleher  (D.  L.) 

299 

Kelly  (Hugh).  .        . . 

169 

Kelly  (Patrick)       .  . 

169 

"  Kelly  (Paddy)."  See 

Al- 

FRED  Howard 

Kenny  (J.) 

188 

Kertland  (William).. 

184 

KiRWAN  (Patrick) 

269 

Knight  (Thomas) 

172 

Knowles  (James  Sheridan) 

187 

Knox  (J.  Armory) 

228 

KuHNE  (J.  Gustav)   . . 

199 

L. 

■ 

La  Brandt  (Joseph)  . . 

318 

Lancaster  (E.  R.) 

188 

Langbridge  (Rosamund) 

284 

Larchet  (John  F.) 

269 

Lavery  (J.) 

215 

Leamy  (Edmund) 

281 

Le  Fanu  (Mrs.  A.)     .  . 

174 

Le  Fanu  (Peter) 

170 

Leonard  (Herbert)  .  . 

239 

Letts  (Miss  W.  M.)    .  . 

285 

Levey  (John)  . . 

210 

LiNDO  (Frank) 

242 

Lloyd  (Arthur) 

226 

Logan  (J.  D.)  . . 

211 

Lord  (T.  W.)  . . 

213 

LOGUE  (J.  D.)  . . 

212  , 

Longhaye 

215  ' 

LoRNE  (Marquis  of)  . . 

241 

Lover  (Samuel) 

177,178 

LOWRY  (A.) 

305 

Lynam  (Oapt.  W.  F.) 

206 

Lyon  (Mr.) 

174  1 

Lyster  (Fred) 

226, 

323  , 

INDEX   TO  PLAYS. 


363 


M'Alister  (Alester)  . .  284 

McCarthy  (Daniel)  . .  .  .  232 

McCarthy  (Justin  Huntley)  301 

McClelland  (Harry)  ..221 

M'CuNN  (Hamish)      . .  . .  241 

McDermott  (John)    . .  .  .  168 

McGloughlin  (Alfred)  . .  308 

MacLoughlin  (J.)      ..  ..  309 

McManus  (Miss  L.)    .  .  . .  287 

MacManus  (Seumas)  . .  . .  274 

MacNamara  (Gerald)  272,  298 

McNeil  (James)        .  .  .  .  170 

McNevin  (Thomas)    . .  . .  180 

McSwiney  (T.  J.)      .  .  . .  303 

McSwiney  (Paul)      ..  ..217 

Macarthy  (E.)          . .  . .  188 

Macarthy  (Harry)   . .  .  .  321 

Macauley  (John)      . .  .  .  170 

Macready  (W.)         .  .  .  .  180 

MacCarthy  (Brian)  ..  ..311 

MacDonagh  (Thomas)  . .  293 

Macherne  (S.  J.)       ..  ..  215 

M'Laren  (F.)  ..        ..  ..175 

McLaren  (John)       .  .  . .  314 

Mackay  (Joseph  William)  . .  218 

Mackey  (Chalmers)  . .  . .  238 

Mackey  (Fenton)      . .  .  .  229 

Macklin  (Charles)    . .  . .  167 

Maeder  (F.)  239 

Magrath  (An-na  Jane)  . .  226 

Mahoney  (Richard)  . .  . .  235 

Maltby  (Alfred)      . .  . .  242 

Maltby  (C.  a.)          .  .  . .  243 

Mangan  (Henry).    Sec  H. 

CONNELL  "     .  . 

Manning  (Michael  A.)  . .  218 

Manning  (W.)  231 

Mansfield  (J.  S.)      . .  . .  207 

Maol  (Conan)           .  .  . .  273 

Markham  (Thomas)  .  .  . .  277 
Markievicz  (Casimir  Dunin)  289, 

303 

Marsden  (Fred)       ..  ..236 

Marshall  (Frank  A.)  . .  218 


j  Martyn  (Edward)     .  .        .  .  252 
Mason  (A.  E.  W.)      .  .        .  .  302 
i  Matthews  (Edward  C.)      .  .  238 
i  Maugham    (William  Somer- 

I       SET)  286 

:  "  Ma YNE  "  (Rutherford  )  ..  282 
j  Mendez  (Moses)  . .  . .  165 
i  MiCHELBURNE  (John).  .        ..  165 

;  Mill  (John)  233 

I  MiLLiKEN  (Richard  Alfred)  174 
;  MiLLiG AN  (Miss  Alice  L.)     ..  253 
■  Mitchell  (Susan  L.)  ..316 
MoLLOY  ( J.  Fitzgerald  )      .  .  49 
Moncrieff  (W\  T.)    ..  ..186 
Monkhouse  (Harry)  .  .        ..  232 
i  Montague  (C.  E.) 
i  Montgomery  (H.  W.)  ..  203 

Montgomery  (J.  J.)  ..  ..  309 
i  Moore  (Augustus  ^I.)  ..  226 
Moore  (Frankfort)  .  .  .  .  233 
Moore  (George)  ..  255,242 
Moore  (Thomas)  . .  . .  174 
'  MoRAN  (James)  .  .        . .  297 

Morgan  (^Mrs.  Xash)  .  .  270 

I  Morrow  (George).  See  "Ger- 
!      ALD  MacNamara  "  .  . 
Morton  (J.  M.)         .  .        . .  178 
Moss  (Hugh)   . .        .  .      227,  233 
MouiLLOT  (Frederick)        . .  278 

Moulter  (  )         .  .        . .  173 

:  MOYL.US  (Tho:^ias  King)      ..  298 
\  Muldoon  (John)       . .        . .  314 
MuLDOON  (Joseph  Malachi)  314 
MuRDOCK  (Mortimer)  . .  215 

Murphy  (Arthur)     . .        . .  166 
Murphy  (Mis.  Louisiana)    . .  228 
,  Murphy  (Michael  John)     . .  221 
!  Murray  (David  Christie)   . .  240 
j  Murray  (Tom  E.)      . .        . .  312 
Murray  (T.  C.)         .  .        . .  295 

N. 

Neil  (J.  Crawford)  ..  ..318 
Newton  (Henry  I.)  ..  ..321 
Nugent  (James  Fitzgerald)  214 


364  INDEX 

o. 

O'Beirne  (J.)            ..  ..  270 

O'BoYLAN  (B.  M.)      . .  . .  322 

O'Brien  (Fitzjames)  . .  . .  198 

O'Brien  (Mary)        . .  . .  300 

O'Brien  (  )          . .  . .  190 

"  O'Connor    (Barry)."  See 

William  O'Connor 
O'Connor  (Bartholomew)  . .  208 

O'Connor  (T.)           . .  . .  222 

O'Connor  (William)  . .  . .  214 

O'CoNNELL  (Daniel)  . .  . .  221 

O'CuisiN  (Seumas)     . .  . .  257 

O'DoNOVAN  (Michael)  . .  280 

O'DwYER  (Robert)    . .  . .  296 

O'E.  (J.)   300 

O'Freil    (Morgan).    Sec  A. 

MCLOUGHLIN 

O'Grady  (Hubert)    . .  . .  219 

O'Grady  (Standish)  . .  . .  256 

O'Hare  (F.  J.)          ..  ..  270 

O'Heer  (P.  J.)          ..  ..  277 

O'Keeefe  (J.)  . .  170,171 

O'Kelly  (Seumas)     . .  . .  286 

O 'Kelly  (Rev.  Thomas)  . .  296 

O'Kelly  (Sean)        . .  . .  300 

O'Leary  (Con)          . .  . .  301 

O'LouGHLiN  (John)    .  .  . .  278 

O'LouGHLiN  (Gerald)  .  .  288 

O'Meara  (Daniel  A.)  . .  173 

O'Neill  (Norman)     . .  . .  284 

O'RoLTiKE     (Vincent).  See 

Edmund  Falconer 
O'Shea  (John  Augustus)  ..  211 
O'Shea  (Patrick)      . .  . .  312 
O'SuLLiVAN  (Gerald)  . .  204  | 
O'TooLE  (Lorcan)     . .  . .  286  i 
OuLTON  (Walley  Chamber- 
lain)  172 

Overton  (Charles)  . .  . .  233 

OxENiORD  (Edward)..  ..  304 

Oxenford  (John)      . .  . .  204 


TO  PLAYS. 


P. 


Parkill.    See  "  Lewis 

PUR- 

CELL  " 

Parry  (Edward  F.)  . . 

. .  278 

Partridge  (Felix) 

. .  281 

Patmore  (W.  J.) 

. .  237 

Patterson  (W.  M.)    . . 

. .  319 

Paul  (William) 

. .  318 

Peake  (R.  B.)  .  . 

..  178 

Pearse  (M.  B.) 

302,  190 

Pearse  (P.  H.) 

..  309 

Pelissier  (W.  H.) 

..  234 

Pelzer  (Joseph) 

..  242 

Pepper  (George) 

..  169 

Phillips  (Watts) 

..  200 

Phillips  (William)    . . 

.  .  164 

Pilgrim  (James) 

. .  186 

PiNERo  (Arthur  Wing) 

..  227 

PiTou  (Augustus) 

..  235 

Pitt  (Dibdin)  . . 

..  101 

Pitt  {\N.  H.)    . . 

..  207 

Planche  (J.  R.) 

.  .  178 

"  Playdell  (George)  " 

..  302 

Pleon  (Harry) 

..  223 

POCOCK  (I.) 

..  179 

Potter  (Paul  M.) 

..  236 

Power  (Tyrone) 

,  .  184 

PuRCELL  (Lewis) 

272 

PURCELL  (R.  J.) 

.  .  316 

R. 

Ransley  (H.  Gerald) 

..  288 

Ray  (R.  J.)     .  . 

.  .  297 

Raymond  (R.  J.) 

..  188 

Reade  (Charles) 

..  197 

Redgrave  (Roy)       .  .  .  .  240 

Redmond  (Johanna)  .  .  290 

Reece  (R.)    222 

Reed  (Joseph)          . .  . .  167 

Reeve  (Percy)          .  .  .  .  231 

Reeve  (Wybert)       . .  . .  206 

Reilly  (Miss  Anne)  . .  . .  304 


INDEX  TO  PLAYS.  365 


Reynolds  (George)  Nugent 

172 

Shirley  (James) 

102 

Reynolds  (Walter)  . . 

229 

Sidney  (W.)  .. 

211 

Richardson  (H.) 

212 

Sims  (George  R.)      . . 

241 

Rickey  (Sam)  . . 

321 

Slaughter  (Walter) 

278 

Rita  (Mrs.    Desmond  Hum- 

Smith (Lita)    . . 

234 

phreys) 

239 

Smith  (S.  Theyre) 

233 

Roach  (James  0.) 

228 

Smyth  (William).    See  " 

WlL- 

Roberts  (George) 

232 

LiAM  Scribble  " 

204 

Robertson  (Miss  Le  Fanu) 

231 

Stanford  (Sir  Charles 

VlL- 

Robertson  (T.  W.  )    . . 

207 

LIERS) 

236 

Robinson  (J.)  • . 

221 

Stanhope  (B.) 

212 

Robinson  (Nugent)  . . 

207 

Stanley  (F.  A.) 

310 

Robinson  (Percy) 

298 

Stanley  (Herbert  J.) 

242 

Robinson  (S.  L.) 

292 

Staunton  (M.  J. ) 

298 

ROBSON  (H.)     . . 

172 

Stephens  (James) 

317 

Rodwell  (G.  H.) 

176 

Stephens  (Robert  Neilson) 

277 

ROLLESTON  (T.  W. )      .  . 

258 

Sterling  (Edward)  . . 

197 

207 

RowE  (G.  F.)  . .~ 

223 

Stevens  (G.  A.) 

165 

Russell  (George).  See  *' " 

269 

Strange  (Stanislaus) 

237 

Russell  (T.  O'Neill) 

273 

Stuart  (C.) 

172 

"  Rutherford  (John)  " 

281 

Stuart  (G.  v.). . 

312 

Ryan  (Fred)  . . 

258 

Sullivan  (Arthur)    . . 

255 

Ryan  (Joseph) 

274 

Sullivan  (J.  P.) 

230 

Ryan  (W.  P.)  

306 

Sutherland    (E.  G.) 

See 

"  John  Rutherford  " 

SwETE  (E.  Lyall) 

277 

S. 

Synge  (J.  M.)  .. 

267 

Sayre  (Theodore  Bart) 

239 

Scott  (Miss  M.  F.) 

317 

T. 

"  Scribble  (William)  " 

204 

Sedgwick  (John  L.)  . . 

320 

Tarpey  (William  Kingsley)  284 

Segar  (R.  F.)  

229 

Taylor  (Charles  H.) 

256 

Selby  (C.)   

193 

Taylor  (Tom) 

198 

Selden  (Edgar) 

234 

Tearle  (Godfrey) 

311 

Shad  WELL  (Charles).  . 

164 

Thomas  (Augustus)  . . 

255 

Shad  WELL  (Thomas)  . . 

163 

Tighe  (Michael  J.)   . . 

303 

Shakespeare  (T.  P.)  . . 

307 

Tours  (Frank) 

Shakespeare  (William) 

160 

Towers  (Edward) 

214 

Shaw  (George  Bernard) 

271 

Travers  (William)    . . 

206,216 

Sheridan  (John  F.)  . . 

237 

Travis  (W.  J.) 

208 

Sheridan    (Richard  Brins- 

Trivin  (Edward) 

ley)  . . 

169 

Turner  (Montague)  . . 

240 

Sheridan  (Thomas)  . . 

165 

Tynan  (Brand an) 

259 

Shine  (John  L.) 

240 

Tynan  (Katherln^e)  . . 

293 

INDEX 


TO  PLAYS. 


u. 

Ulgar  (Gl,\.dys)  . .  . .  276 
Upton  (W]xll\m  C.)  . .        . .  227 


V. 

Vane  (Sutton)  . .        . .  232 

Vatman  (John  and  Suseen)  316 

Vernon  (0.)   239 

Vernon  (H.  M.)        . .        . .  310 


W. 

Waddell.     See  Euthe?vF0RD 

"  Mayne  "  

Wagner  (Richard)  . .  . .  205 
Waldron  (W.  R.)  ..  ..209 
Walker  (G.  Oastb-re)       . .  240 

Walle  (W.)  268 

Waller      (John  Francis, 

LL.D.)   197 

Wallerton  (Miles)  . .  . .  255 
Wallworth  (T.  A.)  ..  ..221 

Walsh  (R.  G.)  281 

Ward  (Montague  A.)  ..235 


Waters  (C.) 

..  309 

Watson  (Dr.  J.  S.  W.) 

..  221 

Webster  (John) 

..  161 

Webster  (  ) 

..  187 

Weldron  (M.  ) . . 

242 

Werner  (C.  J.) 

..  216 

Wheeler  (Mrs. ) 

..  284 

Whitbread  (J.  W.)    . . 

224,  278 

Whitbread  (Nellie).. 

..  277 

White  (Boston) 

..  308 

Whitlock  (Charles) 

..  242 

WiLKS  (Thomas  Egerton)  180,  187 

Williams  (C.  Morton) 

..  307 

Williams  (W.).  . 

..  216 

Wilson  (Charles  Henry) 

..  174 

Wilson  (C.W.) 

..  233 

Wilton  (Kate) 

..  222 

Wilton  (M.  J.) 

..  321 

Wood  (George) 

..  192 

Woods  (Dr.  Robert  H.) 

..  233 

WORTHINGTON  (E.  K. ) 

..  307 

Wyles  (Thomas  F.)  . . 

..  300 

Y. 

Yeats  (W.  B.)  247 


Vll.— INDEX  TO  PLAYS  (SUBJECTS). 


Bilingual  Plays. 

Bursting  of  the  Bubble,  The 
(Hyde)   

Doctor,  The  (O'Beirne) 

Exile,  The  (O'Toole)  . . 

Great  Change,  The  (Partridge) 

Gliocas  (O'Shea) 

Last  of  the  Desmonds,  The 
(Milligan)  

Teacher  from  Fairyland,  The 
(By  an)   


Emigration. 

Emigrant's  Daughter,  The 
(Raymond)   .  . 

Emigration  (Connor)  .  . 

Emigration  (O 'Grady) 

Exiles  of  Erin,  The  (Buchanan) 

Irish  Emigrant,  The  (Broug- 
ham) .  . 


Founded  on  Novels,  etc. 

Charles  O'Malley  (Macarthy) 
Charles  O'Malley  (Moore) 
Colleen  Bawn,  The  (Boucicault) 
Colleen  Bawn  Settled  at  Last 

(Brough  and  Halliday) 
Collegians,  The 


Eily  O'Connor  (Haynes) 

Eily  O'Connor  ;  or,  The  Foster 

Brother  (Wilks) 
Fardorougha,  (Stanley) 
Fardorougha,  (Magrath) 
Fardorougha,  (Downey) 
Fotheringay,  The  (Kirwan)  .  . 
French  Huzzar  (Whit bread)  .  . 
Handy  Andy  (Floyd)  .  . 
Handy  Andy  (Montgomery).. 
Irish  Dragoon,  The  (Whit bread) 
Jealous  Wife,  The  (Colman).. 
Lily  of  Killarney,  The  (Oxen- 
ford  and  Benedict ) .  . 
Mickey  Free  (Wilton). . 
Miss  Eileen  O'Connor  (BjTon) 
Oonagh ;    or.  The  Lovers  of 

Lisnamona  (Falconer) 
Orange  and  Green  (MacManus) 
Peep  o'  Day  (Falconer) 
Peg  the  Rake  (Rita  and  Grey) 
Rory  O'More  (Whit bread)    .  . 
Sally  Kavanagh  ;   or,  A  Tale 

of  Tipperary .  . 
Willy  Reilly  (Wliitbread  and 
Coyne) 

Willy  Reilly  

Willy  Reilly  (Brady)  .  . 


Historical — [Before  1700.1 

Bailiff  of  Ballyfoyle,  The 
Battle    of   Castleknock,  The 


368 


INDEX  TO  PLAYS. 


Battle  of  Aughrim,  The  (Ash- 
ton)    ,  .         .  .         .  .        .  . 

Before  Clonmel  (Walsh) 
Boyne  Water,  The  (Buck stone) 
Brian  Brou  (Bottle)    .  . 
Brian  Boru  (Strange  and  Ed- 
wards) 

Brian  Boroihme  (O'Meara) 
Brian  Boroihme  (Knowles)  .  . 
Brian  Boroihme  (Pelt) . . 
Brian  of  Banba  (Milligan) 
Brian  of  Banba  (Hodson) 
Connor  O'Nial  (Longhaye)  .  . 
Daughter  of  Oonagh,  The  (Mil- 
ligan)   

Dervorgilla  (Gregory).. 
Easter  Fires  on  the  Hill  of  Slane 
Escape  of  Red  Hugh,  The  (Mil- 
ligan)   

Four  Pretenders  of  London, 

The  (Haywood) 
Fugitive,  The  (McLoughlin)  .  . 
Gerald  of  Kildare  (Bibby)    . . 
Henri  Quatre   .  . 
Hibernia's  Triumph    . . 
Hugh  O'Neill  (Maol)  .  . 
Hugh  Roe  O'Donnell  (O'Grady) 
Irish  Rebellion,  The  .  . 
Ireland     Preserved  (Michel- 

burne) 
King  Brian  Boroihme .  . 
King  O'Neil ;    or,  The  Irish 

Brigade  (Gore) 
Kincora  (Gregory) 
Lady  Clancarty  (Taylor) 
Last  Irish  King,  The  (Russell) 
Mayor  of  Galway,  The  (Tighe) 
Mayor  of  Rochester,  The  (Mon- 
crieff) 

Meagher  of  the  Sword  (Alfred) 
O'Donnell's  Cross  (McManus) 
O'Flynn,  The  (M'Carthy)  . . 
On     the     King's  Threshold 

(Yeats)   

Outlaws,  The  (O'Grady) 


Patriot  King,  The  (Dobbs)  . . 
Rapparee,  The  (O'Loughlin), . 
Rapparee  ;   or,  The  Treaty  of 

Limerick  (Boucicault) 
Rotheric  O'Connor  (Shad well) 
Round  Tower,  The  (Cro.s)    .  . 
Royal  Voyage,  The 
Rebellion  Defeated  (Cutts)  . . 
Red  Hugh  (Russell)    .  . 
Sarsheld  (Whitbread)  .  . 
Shane  the  Proud  (Boyle) 
Siege  of  Limerick,  The  (Barry) 
Silken  Thomas  (Bibby) 
Sword  of  Dermot,  The  (Cousins) 
St.   Patrick's  Eve  ;    or.  The 

Order  of  the  Day  (Power).  . 
St.    Patrick    at  Castleknock 

(Campbell)    . . 
Strongbow  (French  and  CoUis- 

son )    .  . 

Tara  (Glover)  

Warden     of     Galway,  The 

(Groves) 
White  Cockade,  The  (Gregory) 
White  Horse  of  the  Peppers, 

The  (Lover)  

With  the  Wild  Geese  (Harty). . 

[Eighteenth  Century]. 

Dick  Sheridan  (Buchanan)  .  . 

Edmund  Burke  (Sayre) 

Goldsmith  (Moore) 

Green  on  the  Cape,  The  (Mil- 
ligan)   

Masks  and  Faces  (Reade  and 
Taylor)  .: 

Mr.  Sheridan  (Ulgar).. 

Oliver  Goldsmith  (Thomas)  .  . 

Princess  Clementina,  The  (Play- 
dell  and  Mason) 

Tom  Moore  (Sayre) 

Tom  Moore  (Walsh)    . . 

Stella  and  Vanessa  (Graves) . . 

Swift  and  Vanessa  (Bartho- 
leyus) 


INDEX  TO  PLAYS. 


['98  PLAYS.] 

Conspiracy    of    Dublin,  The 

(Gustav) 
Croppy  Boy,  The  (Alfred)    .  . 
Daughter  of  Ireland,  The  (Hur- 

son)    .  . 
Father  Murphy 

French  are  on  the  Sea,  The 

(Milligan) 
Harp  that  Once,  The  (Milligan) 
Insurgent  Chief,   The  (Whit- 
bread) 

Lord  Edward  or   '98  (Whit- 
bread) 

Lord      Edward  Fitzgerald 

(O'Brien) 
Memory    of   the   Dead,  The 

(Markievicz)  .  . 
Old  Land,  The  (Johnston) 
Paddy  Carey  (Power).  . 
Patriot's  Wife,  The  (Jarman) 
Patriot's  Priest,  The  (Staun- 
ton)   . . 
Pro  Patria  (Redmond) 
Rebels,  The  (Fagan)  .  . 
Renegade,  The  (O'Hara) 
Sham  Squire,  The  (Whitbread) 
Shamus  O'Brien  (Stanford  and 
Jessop) 

Shamus  O'Brien  (Maeder  and 

Vernon) 
Shamus  . . 

Spy  of  the  Glen,  The  (Allan).  . 
Theobald  Wolfe  Tone  (Whit- 
bread) 

Ulster  Hero,  The  (Whitbread) 
Wearing   of  the   Green,  The 

(Matthews)    .  . 
Wearing   of  the   Green,  The 

(Howard  and  Mackey) 
Wearing  of  the  Green  (Howard) 
West's  Awake,  The  (Muldoon) 
Wexford  (Conyers) 


What  News  from  Bantry  Bay? 

(M'Laren)  

When  Wexford  Rose  (Bourke) 
When  Wexford  Rose  (Keogh) 
White  Boys,  The 
Wren  Boys,  The  (Wilks) 


[1803  PLAYS]. 

Falsely  True  (Redmond) 
In  the  Days  of  the  Union 
Rebels,  The  (O'Boylan) 
Robert  Emmet  (Pilgrim) 
Robert  Emmet,  the  Irish  Mar- 
tyr (O'Sullivan) 
Robert  Emmet,  the  Irish  Pa- 
triot of  1803  

Robert  Emmet  (Digges) 
Robert  Emmet  (Marshall) 
Robert  Emmet  (Gwynn) 
Robert  Emmet  (Tynan) 
Robert  Emmet  (Mangan) 
Robert  Emmet  (Cunningham) 
Robert  Emmet  (Clarke) 
Robert  Emmet  (Boucicault) 


[Later.] 

Daniel  O'Connell ;  or,  Kerry's 
Pride  and  Munster's  Glory .  . 
Daniel  O'Connell  (Robinson).  . 

[Fenian  Plays] 

Call  to  Arms,  The  (Kearney).  , 
Fenian,  The  (O'Grady) 
Fenian's  Death,  The  (Moran).  . 
Shaughraun,  The  (Boucicault) 

[188L] 

Dunmore  ;  or.  The  Days  of  the 
Land  League 


AA. 


370  INDEX 

Gaelic  Legend. 

Boy  Deeds  of  Cucliulain,  The .  . 
Buried  Life  of  Deirdre,  The 

(Gore-Booth) 
Countess  Cathleen,  The  (Yeats) 
Cuchulain  (Upton) 
Cuchulain  (Varian) 
Destruction  of  the  Hostel,  The 

(Colum)   

Deirdre  (Yeats) 

Deirdre  of  the  Sorrows  (Synge) 

Deirdre  (Russell) 

Deirdre  (Rolleston) 

Deirdre  (Ferguson)     .  . 

Diarmuid  (Lorne  and  M'Cunn) 

Diarmuid  and  Grania  (Yeats 

and  Moore)   .  . 
Eithne  (O'Dwyer  and  O'Kelly) 
Fand  of  the  Fair  Cheek  (Blunt) 
Fin  Maccoul  (Boucicault) 
Fionn  and  Tar  a  (Lorne  and 

Drysdale) 
Fionn  (O'Grady) 
Green  Helmet,  The  (Yeats)  . . 
Hermit   and   the   King,  The 

(Corkery) 
Hour  Glass,  The  (Yeats) 
Kathleen-ni- Houlihan  (Yeats) 
Land  of  Heart's  Desire,  The 

(Yeats)   

Last  Warrior   of  Coole,  Tlie 

(McSwiney)  .  . 
Last  Feast  of  the  Fianna,  The 

(Millig  an) 
Little  Cowherd  of  Slainge,  The 

(Campbell)    .  . 
Lost   Saint,   The   (Hyde  and 

Gregory) 
Miracle    of    the    Corn,  The 

(Colum)   

Naming    of    Cuchulain,  The 

(Ferguson)    .  . 
O  isin  in  Tir  na  nOg  (Milligan) 
O  isin  and  Patrick  (Milligan).. 


TO  PLAYS. 

Oisin  the  Hero  (Varian) 

On  Baile's  Strand  (Yeats)    . . 

Pagan,  The  (Purcell)  .  . 

Return  of  Lugh,  The  .  . 

Sea  Swan,  The  (Butler  and 
Chesson) 

Shadowy  Waters,  The  (Yeats) 

Sleep  of  the  King,  The  (Cousins) 

St.  Patrick's  Purgatory  (Calde- 
ron)    .  . 

Sun  God,  The  (McManus)     . . 

Tinker  and  the  Fairy,  The 
(Hyde)   

Transformation  of  Fionn,  The 
(O'Grady)  

Tristan  and  Tsolda  (Wagner).  . 

Tristran  and  Iseult  (Carr) 

Triumph  of  Maeve,  The  (Gore- 
Booth)   

Wooing  of  Emer,  The  (MoS\vi> 
ney)  


Pfasant  Plays. 

Best  of  a  Bad  Bargain,  The 

(Redmond)  .  . 
Birthright  (Murray)  .  . 
Building  Fund,  The  (Boyle).. 
Burden,  The  (Worthington) .  . 
Clancy  Name,  The  (Robinson) 
Cross  Roads,  The  (Robinson). . 
Country  Dressmaker,  The  (Fitz- 

maurice) 
Cuckoo's  Nest,  The  (Guinan). . 
Drone,  The  (Mayne)  .  . 
Enthusiast,  The  (Purcell)     . . 
Eyes  of  the  Blind,  The  (Letts) 
Family  Failing  (Boyle) 
Fiddler's  House,  The  (Colum) 
Flame   on   the   Hearth,  The 

(O'Kelly)   

Full  Moon,  The  (Gregory) 
Gaol  Gate,  The  (Gregory)    . . 


INDEX  TO  PLAYS.  371 


Hard-Hearted  Man,  The 
(MacManus)  .  . 

Harv^est  (Robinson) 

Homecoming,  The  (O'Kelly).. 

Honor's  Choice  (Redmond) 

Hyacinth  Halvey  (Gregory). 

Image,  The  (Gregory).  . 

In  the  Shadow  of  the  Glen 
(Synge)   

Jackdaw,  The  (Gregory) 

John  Bull's  Other  Island 
(Shaw)   

Lad  from  Largymore,  The 
(MacManus)  .  . 

Land,  The  (Colum)     .  . 

Leading  Road  to  DtJnegal,  The 
(Mac^NIanus)  . . 

Leap  Year  in  the  West  (Red- 
mond) 

Marriage,  The  (Hyde  and  Gre- 
gory)   

Matchmakers,  The  (Wheeler). . 

Matchmakers,  The  (O'Kelly). . 

Magic  Sieve,  The  (Hamilton).  . 

Mineral  Workers,  The  (Boyle) 

Naboclish  (Moylan) 

Over  the  Stile  (Pearse) 

Paid  in  his  Own  Coin  (Moylan) 

Pat  Maher's  Temptation  (Pur- 
cell  and  Dor  an) 

Piedish,  The  (Fitzmaurice)  .  . 

Playboy  of  the  Western  World, 
The  (Synge)  

Pot  of  Broth,  The  (Yeats)     .  . 

Red  Turf  (Mayne) 

Resurrection  of  Dinny  O'Dowd, 
The  (MacManus)    .  . 


Rising  of  the  Moon,  The  (Gre- 
gory)   

Saxon  Shilling,  The  (Colum) . . 
Shuiler's  Child,  The  (O'Kelly) 
Spell,  The  (Langbridge) 
Spreading  the  Ne^s  (Gregory) 
Teig  Corcoran's  Courtship  (Gre- 
gory)   

Tinker's  Wedding,  The  (Synge) 
Troth,  The  (Mayne)    .  . 
Turn  of  the  Road,  The  (Mayne) 
Twenty-five  (Gregory) . . 
Twisting   of   the   Roipe,  The 

(Hyde  and  Gregory) 
Well  of  the  Saints,  The  (Synge) 
Wheel  o'  Fortune,  The  (Murray) 
Workhouse  Ward,  The  (Gre- 
gory)   


Town  and  City  Life. 

Eloquent  Dempsey,  The  (Boyle) 
Jerry-builder,  The  (Paul) 
Laying  of  the  Foundations,  The 

(Ryan)   

Magnanimous  Lover,  The  (Er- 

ving)  

Man  Who  Missed  the  Tide,  The 

(Casey) 

Marriage  of  Julia  Elizabeth, 

The  (Stevens) 
Mixed  Marriages  (Ervina:)    . . 
Suburban  Groove,  The  (Casey) 
Thomas  Muskerry  (Colum)  . . 
Widow    Dempsey's  Funeral, 

The  vCox)     . . 


Dublin  : 

Printed  by  Cahill  &  Co.,  Ltd., 
40  LowEB  Ormond  Quay. 


3  9031  027  08245
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